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Cult Load Words EN 13

2021-12-29T16:26:51Z

Cheng Yang: /* 2.2 The Necessity of Cultural-loaded Words Study */

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]

===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction：
1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages.
2、… , but also an important means……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

===Key Words===
Culture-loaded words; ''Border Town''; Gladys Yang; Translator behavior criticism

===题目：《边城》中文化负载词的翻译—以戴乃迭英译本为例===

===摘要===
随着世界文化交流的日益频繁以及文化之间差异性的日益显露，文化多样性在国家交流之间占据了很大的地位。不同国家和民族都有自己的文化特点和特色，而这种各具特色的文化都深深植根于各自的语言之中。语言是文化的载体，词是语言的基本单位，也是语言中最活跃的部分。在跨文化交际中，文化负载词是重要的组成部分，是两种语言之间交流的重要桥梁和纽带。对于文化负载词的研究是跨文化交际过程中的重要环节，也是本民族发展的重要手段和方法。在沈从文的《边城》一文中，存在着大量的文化负载词。本文以戴乃迭译本为参考，结合译者行为批评理论探讨译本之中文化负载词的翻译。

===关键词===
文化负载词；《边城》；戴乃迭；译者行为批评

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction：
1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction：
1、Cuicui in ''Border Town'' was also modeled on her.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Gladys Yang’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Gladys Yang’s English translation===
====3.1 The Introduction to Gladys Yang====
Gladys Yang (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Xianyi in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Xianyi presided over the completion of the first draft, while Gladys Yang was responsible for proofreading and correcting the English expression. "Yang Xianyi actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Gladys Yang's independent translation period. The translation of Chinese classic literature works by Gladys Yang and her husband Yang Xianyi not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Gladys Yang was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Gladys Yang's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction：
1、Meanwhile, the powerful cultural……
2、……the British and American countries……
3、…… female translators' choices……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Gladys Yang was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Gladys Yang followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Gladys Yang's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Gladys Yang used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of ''Border Town'' by Gladys Yang does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Gladys Yang, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Gladys Yang ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Gladys Yang translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Gladys Yang’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Gladys Yang’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Gladys Yang should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Gladys Yang, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Gladys Yang translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys Yang has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Gladys Yang translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Gladys Yang used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Gladys Yang translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's ''Border Town'', prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Gladys Yang translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Gladys Yang felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Gladys Yang described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Gladys Yang translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys Yang is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Gladys Yang translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Gladys Yang used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Gladys Yang only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Yang, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, female translators are more keenly aware of the original author’s linguistic information, and thus put more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

Cult Load Words EN 13

2021-12-29T16:12:21Z

Cheng Yang: /* 3. Analysis of Translation of Cultural-loaded Words in Border Town:A Case Study of Dai Naidie’s English translation */

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]

===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction：
1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages.
2、… , but also an important means……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

===Key Words===
Culture-loaded words; ''Border Town''; Gladys Yang; Translator behavior criticism

===题目：《边城》中文化负载词的翻译—以戴乃迭英译本为例===

===摘要===
随着世界文化交流的日益频繁以及文化之间差异性的日益显露，文化多样性在国家交流之间占据了很大的地位。不同国家和民族都有自己的文化特点和特色，而这种各具特色的文化都深深植根于各自的语言之中。语言是文化的载体，词是语言的基本单位，也是语言中最活跃的部分。在跨文化交际中，文化负载词是重要的组成部分，是两种语言之间交流的重要桥梁和纽带。对于文化负载词的研究是跨文化交际过程中的重要环节，也是本民族发展的重要手段和方法。在沈从文的《边城》一文中，存在着大量的文化负载词。本文以戴乃迭译本为参考，结合译者行为批评理论探讨译本之中文化负载词的翻译。

===关键词===
文化负载词；《边城》；戴乃迭；译者行为批评

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction：
1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction：
1、Cuicui in ''Border Town'' was also modeled on her.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Gladys Yang’s English translation===
====3.1 The Introduction to Gladys Yang====
Gladys Yang (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Xianyi in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Xianyi presided over the completion of the first draft, while Gladys Yang was responsible for proofreading and correcting the English expression. "Yang Xianyi actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Gladys Yang's independent translation period. The translation of Chinese classic literature works by Gladys Yang and her husband Yang Xianyi not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Gladys Yang was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Gladys Yang's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction：
1、Meanwhile, the powerful cultural……
2、……the British and American countries……
3、…… female translators' choices……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Gladys Yang was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Gladys Yang followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Gladys Yang's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Gladys Yang used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of ''Border Town'' by Gladys Yang does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Gladys Yang, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Gladys Yang ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Gladys Yang translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Gladys Yang’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Gladys Yang’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Gladys Yang should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Gladys Yang, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Gladys Yang translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys Yang has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Gladys Yang translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Gladys Yang used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Gladys Yang translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's ''Border Town'', prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Gladys Yang translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Gladys Yang felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Gladys Yang described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Gladys Yang translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys Yang is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Gladys Yang translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Gladys Yang used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Gladys Yang only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Yang, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, female translators are more keenly aware of the original author’s linguistic information, and thus put more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

Culture loaded words

2021-12-29T15:55:06Z

Cheng Yang: /* 13 程杨 Translation of Cultural-loaded Words in Border Town: A Case Study of Dai Naidie’s English translation */

Cult Load Words EN 13

2021-12-29T15:27:38Z

Cheng Yang:

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]

===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction：
1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages.
2、… , but also an important means……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

===Key Words===
Culture-loaded words; ''Border Town''; Gladys Yang; Translator behavior criticism

===题目：《边城》中文化负载词的翻译—以戴乃迭英译本为例===

===摘要===
随着世界文化交流的日益频繁以及文化之间差异性的日益显露，文化多样性在国家交流之间占据了很大的地位。不同国家和民族都有自己的文化特点和特色，而这种各具特色的文化都深深植根于各自的语言之中。语言是文化的载体，词是语言的基本单位，也是语言中最活跃的部分。在跨文化交际中，文化负载词是重要的组成部分，是两种语言之间交流的重要桥梁和纽带。对于文化负载词的研究是跨文化交际过程中的重要环节，也是本民族发展的重要手段和方法。在沈从文的《边城》一文中，存在着大量的文化负载词。本文以戴乃迭译本为参考，结合译者行为批评理论探讨译本之中文化负载词的翻译。

===关键词===
文化负载词；《边城》；戴乃迭；译者行为批评

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction：
1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction：
1、Cuicui in ''Border Town'' was also modeled on her.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Gladys Yang====
Gladys Yang (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Xianyi in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Xianyi presided over the completion of the first draft, while Gladys Yang was responsible for proofreading and correcting the English expression. "Yang Xianyi actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Gladys Yang's independent translation period. The translation of Chinese classic literature works by Gladys Yang and her husband Yang Xianyi not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Gladys Yang was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Gladys Yang's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction：
1、Meanwhile, the powerful cultural……
2、……the British and American countries……
3、…… female translators' choices……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Gladys Yang was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Gladys Yang followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Gladys Yang's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Gladys Yang used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of ''Border Town'' by Gladys Yang does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Gladys Yang, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Gladys Yang ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Gladys Yang translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Gladys Yang’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Gladys Yang’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Gladys Yang should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Gladys Yang, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Gladys Yang translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys Yang has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Gladys Yang translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Gladys Yang used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Gladys Yang translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's ''Border Town'', prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Gladys Yang translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Gladys Yang felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Gladys Yang described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Gladys Yang translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys Yang is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Gladys Yang translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Gladys Yang used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Gladys Yang only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Yang, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, female translators are more keenly aware of the original author’s linguistic information, and thus put more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

Cult Load Words EN 13

2021-12-29T15:24:59Z

Cheng Yang:

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]

===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction：
1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages.
2、… , but also an important means……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

===Key Words===
Culture-loaded words; ''Border Town''; Gladys Yang; Translator behavior criticism

===摘要===
随着世界文化交流的日益频繁以及文化之间差异性的日益显露，文化多样性在国家交流之间占据了很大的地位。不同国家和民族都有自己的文化特点和特色，而这种各具特色的文化都深深植根于各自的语言之中。语言是文化的载体，词是语言的基本单位，也是语言中最活跃的部分。在跨文化交际中，文化负载词是重要的组成部分，是两种语言之间交流的重要桥梁和纽带。对于文化负载词的研究是跨文化交际过程中的重要环节，也是本民族发展的重要手段和方法。在沈从文的《边城》一文中，存在着大量的文化负载词。本文以戴乃迭译本为参考，结合译者行为批评理论探讨译本之中文化负载词的翻译。

===关键词===
文化负载词；《边城》；戴乃迭；译者行为批评

===题目：《边城》中文化负载词的翻译—以戴乃迭英译本为例===

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction：
1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction：
1、Cuicui in ''Border Town'' was also modeled on her.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Gladys Yang====
Gladys Yang (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Xianyi in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Xianyi presided over the completion of the first draft, while Gladys Yang was responsible for proofreading and correcting the English expression. "Yang Xianyi actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Gladys Yang's independent translation period. The translation of Chinese classic literature works by Gladys Yang and her husband Yang Xianyi not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Gladys Yang was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Gladys Yang's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction：
1、Meanwhile, the powerful cultural……
2、……the British and American countries……
3、…… female translators' choices……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Gladys Yang was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Gladys Yang followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Gladys Yang's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Gladys Yang used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of ''Border Town'' by Gladys Yang does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Gladys Yang, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Gladys Yang ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Gladys Yang translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Gladys Yang’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Gladys Yang’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Gladys Yang should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Gladys Yang, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Gladys Yang translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys Yang has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Gladys Yang translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Gladys Yang used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Gladys Yang translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's ''Border Town'', prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Gladys Yang translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Gladys Yang felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Gladys Yang described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Gladys Yang translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys Yang is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Gladys Yang translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Gladys Yang used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Gladys Yang only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Yang, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, female translators are more keenly aware of the original author’s linguistic information, and thus put more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

Cult Load Words EN 13

2021-12-29T15:22:13Z

Cheng Yang:

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]

===摘要===
随着世界文化交流的日益频繁以及文化之间差异性的日益显露，文化多样性在国家交流之间占据了很大的地位。不同国家和民族都有自己的文化特点和特色，而这种各具特色的文化都深深植根于各自的语言之中。语言是文化的载体，词是语言的基本单位，也是语言中最活跃的部分。在跨文化交际中，文化负载词是重要的组成部分，是两种语言之间交流的重要桥梁和纽带。对于文化负载词的研究是跨文化交际过程中的重要环节，也是本民族发展的重要手段和方法。在沈从文的《边城》一文中，存在着大量的文化负载词。本文以戴乃迭译本为参考，结合译者行为批评理论探讨译本之中文化负载词的翻译。

===关键词：文化负载词；《边城》；戴乃迭；译者行为批评===

===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction：
1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages.
2、… , but also an important means……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

===Key Words===
Culture-loaded words; ''Border Town''; Gladys Yang; Translator behavior criticism

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction：
1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction：
1、Cuicui in ''Border Town'' was also modeled on her.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Gladys Yang====
Gladys Yang (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Xianyi in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Xianyi presided over the completion of the first draft, while Gladys Yang was responsible for proofreading and correcting the English expression. "Yang Xianyi actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Gladys Yang's independent translation period. The translation of Chinese classic literature works by Gladys Yang and her husband Yang Xianyi not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Gladys Yang was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Gladys Yang's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction：
1、Meanwhile, the powerful cultural……
2、……the British and American countries……
3、…… female translators' choices……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Gladys Yang was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Gladys Yang followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Gladys Yang's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Gladys Yang used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of ''Border Town'' by Gladys Yang does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Gladys Yang, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Gladys Yang ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Gladys Yang translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Gladys Yang’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Gladys Yang’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Gladys Yang should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Gladys Yang, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Gladys Yang translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys Yang has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Gladys Yang translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Gladys Yang used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Gladys Yang translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's ''Border Town'', prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Gladys Yang translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Gladys Yang felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Gladys Yang described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Gladys Yang translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys Yang is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Gladys Yang translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Gladys Yang used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Gladys Yang only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Yang, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, female translators are more keenly aware of the original author’s linguistic information, and thus put more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

Cult Load Words EN 13

2021-12-29T14:55:36Z

Cheng Yang: /* Conclusion */

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]
===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction：
1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages.
2、… , but also an important means……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

===Key Words===
Culture-loaded words; ''Border Town''; Gladys Yang; Translator behavior criticism

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction：
1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction：
1、Cuicui in ''Border Town'' was also modeled on her.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Gladys Yang====
Gladys Yang (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Xianyi in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Xianyi presided over the completion of the first draft, while Gladys Yang was responsible for proofreading and correcting the English expression. "Yang Xianyi actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Gladys Yang's independent translation period. The translation of Chinese classic literature works by Gladys Yang and her husband Yang Xianyi not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Gladys Yang was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Gladys Yang's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction：
1、Meanwhile, the powerful cultural……
2、……the British and American countries……
3、…… female translators' choices……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Gladys Yang was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Gladys Yang followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Gladys Yang's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Gladys Yang used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of ''Border Town'' by Gladys Yang does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Gladys Yang, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Gladys Yang ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Gladys Yang translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Gladys Yang’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Gladys Yang’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Gladys Yang should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Gladys Yang, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Gladys Yang translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys Yang has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Gladys Yang translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Gladys Yang used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Gladys Yang translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's ''Border Town'', prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Gladys Yang translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Gladys Yang felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Gladys Yang described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Gladys Yang translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys Yang is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Gladys Yang translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Gladys Yang used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Gladys Yang only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Yang, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, female translators are more keenly aware of the original author’s linguistic information, and thus put more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

Cult Load Words EN 13

2021-12-29T14:53:33Z

Cheng Yang: /* 3.2 Analysis on Cultural-loaded Words */

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]
===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction：
1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages.
2、… , but also an important means……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

===Key Words===
Culture-loaded words; ''Border Town''; Gladys Yang; Translator behavior criticism

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction：
1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction：
1、Cuicui in ''Border Town'' was also modeled on her.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Gladys Yang====
Gladys Yang (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Xianyi in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Xianyi presided over the completion of the first draft, while Gladys Yang was responsible for proofreading and correcting the English expression. "Yang Xianyi actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Gladys Yang's independent translation period. The translation of Chinese classic literature works by Gladys Yang and her husband Yang Xianyi not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Gladys Yang was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Gladys Yang's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction：
1、Meanwhile, the powerful cultural……
2、……the British and American countries……
3、…… female translators' choices……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Gladys Yang was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Gladys Yang followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Gladys Yang's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Gladys Yang used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of ''Border Town'' by Gladys Yang does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Gladys Yang, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Gladys Yang ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Gladys Yang translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Gladys Yang’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Gladys Yang’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Gladys Yang should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Gladys Yang, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Gladys Yang translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys Yang has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Gladys Yang translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Gladys Yang used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Gladys Yang translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's ''Border Town'', prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Gladys Yang translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Gladys Yang felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Gladys Yang described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Gladys Yang translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys Yang is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Gladys Yang translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Gladys Yang used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Gladys Yang only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Dai, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, women The translator is more keenly aware of the original author’s linguistic information, and thus puts more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

Cult Load Words EN 13

2021-12-29T14:46:44Z

Cheng Yang: /* 3.1 The Introduction to Dai Naidie */

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]
===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction：
1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages.
2、… , but also an important means……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

===Key Words===
Culture-loaded words; ''Border Town''; Gladys Yang; Translator behavior criticism

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction：
1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction：
1、Cuicui in ''Border Town'' was also modeled on her.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Gladys Yang====
Gladys Yang (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Xianyi in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Xianyi presided over the completion of the first draft, while Gladys Yang was responsible for proofreading and correcting the English expression. "Yang Xianyi actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Gladys Yang's independent translation period. The translation of Chinese classic literature works by Gladys Yang and her husband Yang Xianyi not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Gladys Yang was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Gladys Yang's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction：
1、Meanwhile, the powerful cultural……
2、……the British and American countries……
3、…… female translators' choices……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Dai Naidie was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Dai Naidie followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Dai Naidie's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Dai Naidie used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of Border Town by Dai Naidie does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Dai Naidie, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Dai Naidie ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Dai Naidie translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Dai Naidie’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Dai Naidie’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Dai Naidie should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Dai Naidie, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Dai Naidie translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Dai Naidie translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Dai Naidie used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Dai Naidie translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's Border Town, prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Dai Naidie translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Dai Naidie felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Dai Naidie described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Dai Naidie translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Dai Naidie translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Dai Naidie used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Dai Naidie only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Dai, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, women The translator is more keenly aware of the original author’s linguistic information, and thus puts more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

Cult Load Words EN 13

2021-12-29T14:43:04Z

Cheng Yang: /* Key Words */

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]
===Abstract===
With the increasingly frequent cultural exchanges in the world and the increasingly exposed differences between cultures, cultural diversity plays a very important role in national exchanges. Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own language. Language is the carrier of culture, and word is the basic unit of language and the most active part of language. In cross-cultural communication, culture-loaded words are an important part and an important bridge and link between two languages. The study of culture-loaded words is not only an important link in the process of cross-cultural communication, but also an important mean and method for the development of a nation. There are a lot of culture-loaded words in Shen Congwen's Border Town. This paper discusses the translation of culture-loaded words in the translation based on the theory of translator's behavior.

Correction：
1、Different countries and nationalities have their own cultural characteristics and features, which are deeply rooted in their own languages.
2、… , but also an important means……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

===Key Words===
Culture-loaded words; ''Border Town''; Gladys Yang; Translator behavior criticism

===Introduction===
===1.Introduction of ''Border Town''===
====1.1 Background of ''Border Town''====
''Border Town'' was written in the 1930s, when the society was in turmoil and the development of urban civilization collided violently with the traditional agricultural civilization. The whole traditional civilization has been challenged and impacted unprecedentedly, and the traditional society has become fragmented, but on the whole it still exists peacefully. In China at that time, conscientious and thoughtful men of letters had a strong sense of responsibility and perception for the society. They did not want to see the whole nation degenerate in the violent civilization of cities, nor did they want people to lose their way in the vanity of cities. Mr. Shen as a member of the advanced intellectuals, he hoped that through ''Border Town'' this work for the impression of Xiangxi, which is similar to the Peach Blossom Land, to the confused people in cities shows the simplicity and purity of traditional culture, but also indicate the direction for them to move forward: there is a pure and natural love in life, and life needs to be converted to the nature of natural life.

Correction：
1、The whole traditional civilization had been challenged and impacted unprecedentedly, and the traditional society had become fragmented, but on the whole it still existed peacefully.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====1.2 Introduction of the Author Shen Congwen====
The 1930s was the time when Shen Congwen had a good harvest in love and career, and his wife Zhang Zhaohe had the greatest influence on his creation. After their marriage, Shen Congwen wrote to his wife: "I have crossed many bridges, seen many clouds and tasted many kinds of alchohol, but I have only ever loved a man of the best age." Zhang's comely appearance and dark complexion are traits Mr. Shen used repeatedly in his works. Cuicui in ''Border Town'' was also based on her. At the same time, the Border Town also carries Shen Congwen's strong feelings for Xiangxi. Although his description of the stones, water plants, boatmen and other things in the Border Town is almost plain description, a close reading can feel his love for Xiangxi from the heart. ''Border Town'' is not only about the life of young men and girls born and raised in this small town, but also a beautiful, healthy, natural and human life form, which is also the original intention of Shen Congwen's creation.(Shen, 2013:104-105)

Correction：
1、Cuicui in ''Border Town'' was also modeled on her.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

Shen Congwen's style inclines to romanticism, he asked the poetic novel of effect, integrating realism, recording, symbolism be in harmony an organic whole. He also asked the language style of primitive simplicity, sentence of simple forms, and thick and pure style with rich local color. He highlighted the country unique charm with a twinkle in human nature. Shen Congwen's novels are typical rural culture novels, which not only compare with the modern civilization of the city on the whole, but also pay attention to the way of living, the footprint of life and the historical destiny of the villagers, which are determined by the collision of different cultures during the transformation of the Xiangxi Area to the modern era. The whole work is full of worries about life and philosophical thinking about life, just like his real and tenacious life, giving people lessons and enlightenment.

Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that "beauty lies in life". Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, "In this world, there may be people who build great pavilions on sand or water, but that is not me, I just wanted to build a small Greek temple. Choose a small ground for a foundation and pile it with hard stones. Delicate, solid, symmetrical, small but not slender, it is my ideal building. It is dedicated to humanity." Therefore, it can be said that the "Greek temple" symbolizes a spiritual space full of human beauty and divine love, which transcends the "secular heart and eyes" and radiates the light of holiness. This "small Greek temple" lived those beautification, by the divinity of the ordinary women, such as Cuicui, YaoYao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are "the life form of the border city".(Shen, 1990:234-237)

===2. Cultural-loaded Words===
====2.1 Definition of Cultural-loaded Words====
As a complex social phenomenon, culture carries a nation's knowledge, experience, hierarchy, religion and concept of time and space. As a part of culture, language embodies the uniqueness and nationality of culture. Language is created in a nation's long-term productive labor and social practice and serves the society. As the core of language, vocabulary inevitably reflects and is influenced and restricted by national characteristics. At the same time, language can truly reflect the ecological region, material culture, religious belief, customs and habits of a country or a nation. Different languages determine the different ways of thinking, behavior and language expression of different nations. Therefore, there are inevitably huge cultural differences in languages, which produce a certain number of culture-loaded words.

Culture-loaded words are the concentrated expression of a nation's geographical environment, living habits, ideas, perceptions and national psychology in language level. It not only carries profound cultural connotation, but also closely links culture with language. In the language system, culture-loaded words are the words that can best reflect the cultural information carried by language and the social life of human beings. Language is not only a tool for the expression and communication of human thoughts and feelings, but also a carrier and an important part of culture. Therefore, culture-loaded words can best reflect the strong national color and bright cultural personality in language. The translation of culture-loaded words requires translators to accurately and appropriately understand the beliefs, customs, aesthetic values and other aspects of other cultures while faithfully conveying the essence and soul of their own cultures, so as to truly achieve the exchange of different cultures.

====2.2 The Necessity of Cultural-loaded Words Study====
In 1980, Professor Xu Guozhang published Culturally Loaded Words and English Language Teaching in Modern Foreign Languages, initiating the study of culture-loaded Words. At the same time, more and more attention has been paid to the study of culture-loaded words. Culture-loaded words, as the main bearing object of a national culture, are the embodiment of the most distinctive personality of culture. However, such words reflecting cultural differences have brought great obstacles to cultural communication and translation. The differences in language and culture between ethnic groups contribute to the diversity of ethnic communication, but at the same time bring great difficulties. Due to the incomplete equivalence of the functions and contents of words among different nationalities, many errors or even major errors in translation process are caused, which will not only cause a certain loss to the cultural or commercial activities at that time, but even cause a certain negative impact on the subsequent cultural exchanges. The generation and use of vocabulary is a unique way of activities accumulated by a nation in the long historical process, which is different from other nations. The translation of culture-loaded words is quite difficult. If the translation is improper, cultural loss will occur, that is, cultural differences will be mistaken for cultural common core, and the target language will be forced to adopt the cultural model of the source language, resulting in communication failure; or replacing the cultural image of the source language with the cultural image of the target language. Communication succeeds, but the regret is the cultural loss of the source language.(Qi, 2020: 163-164)

Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as "the purest novel text in the history of modern literature" and "the peak work in the pastoral legend of modern Chinese literature". It shows readers the harmonious life form of the Xiangxi Area. There are a large number of words which reflect the traditional customs and culture and dialect characteristics of the rural areas of Hunan, China. These culture-loaded words increase the difficulty of translation. In Dai Naidie’s translation, the translator also tries to reproduce the cultural characteristics of the original text in a variety of ways, so that the target readers can feel the local characteristics and charm of the ''Border Town'' more truly and appropriately.

===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===
====3.1 The Introduction to Dai Naidie====
Dai Naidie (1919-1999) was born Gladys B.Tayler in 1919 to a British missionary family in Beijing. At the age of seven, she returned to England to receive education. She initially studied French language and literature, but in the later switched to Chinese language and literature because of her love for traditional Chinese culture. After marrying Yang Yixian in 1940, she settled down in China, where she and her husband hosted and translated many Chinese classics. The translated works range from pre-Qin prose to A Dream of red Mansions of more than 100 kinds. In their early works, Yang Yixian presided over the completion of the first draft, while Dai Naidie was responsible for proofreading and correcting the English expression. "Yang Yixian actually translated the Chinese into English, and I turned it into a narrative antithesis," she later recalled. With the continuous improvement of her Chinese and English translation skills, she began to try to independently translate Chinese literary works into English books, and contributed a large number of classic English translation literary works. The ''Border Town'' is one of the representative translations of Diana's independent translation period. The translation of Chinese classic literature works by Dai Naidie and her husband Yang Yixian not only promoted the cultural exchange between China and English-speaking countries, but also promoted the development of literary translation, promoted the translation process of Chinese classical novels, and contributed a huge force that cannot be ignored for Chinese culture to go out.(Song, 2017:24-27)

In the process of translating ''Border Town'', Diana was inevitably influenced by the social ideology of China at that time. As a foreigner herself, she was restricted and oppressed to a large extent, so her translation works mainly catered to the mainstream ideas of Chinese society at that time. At the same time, the powerful cultural countries represented by Britain and the United States at that time generally preferred the stereotyped works that fit their imagination in the weak culture. However, Shen Congwen's description of the backwardness and occlusion of the small town in Xiangxi was just in line with the imagination of the British and American society for the distant China, so it was once very popular in The British and American countries.(Sun, 2013: 49-50)

On the basis of being faithful to the original text, Diana's translation fully conveys the tendency of female translators' choice of translation strategies, which is reflected in the particularity of female translators' behavior in the process of translation.(Liu, 2017: 91-94)

Correction：
1、Meanwhile, the powerful cultural……
2、……the British and American countries……
3、…… female translators' choices……
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 16:43, 14 December 2021 (UTC)

====3.2 Analysis on Cultural-loaded Words====
Each language has its own unique features in pronunciation, vocabulary and syntax. Due to the differences in language and culture, the translatability of the expression forms of these languages will be limited when they are conveyed as information content in communicative language. If we do not understand the language and cultural characteristics of the original language, it is bound to produce ambiguity and mis-understanding. Meanwhile, translators of different identities have different approaches to translation. As a female translator, Dai Naidie was deeply aware of Shen Congwen's attitude and view when she read his work Border Town. Therefore, when dealing with the problems encountered in translation, especially some words with the color of feminism, she carefully and rigorously screened the original author Shen Congwen's own attitude, avoiding unreasonable and inappropriate translation of words, thus improving the accuracy and readability of the translation.(Song, 2017:25)

=====3.2.1 Analysis on Ecological Words=====
Ecology is a branch of biology that refers to the study of the relationship between organisms and their surroundings, especially their connections with their living environments. The diversity of ecological culture is naturally caused by the differences of geographical environment and natural conditions in various countries. The difference of ecological conditions will inevitably lead to the difference of national culture, so that culture shows a distinct regional.

The ''Border Town'' is a novel with the background of Xiangxi, which involves a lot of local customs and characteristic vocabulary. Dai Naidie followed the characteristics of Chinese culture and retained the cultural characteristics of Western Hunan in his translation. In Dai Naidie's translation, all place names are transliterated. For example, “四川”Sichuan、“秀山”Xiushan、“茶峒”Chatong, etc. Dai Naidie used pinyin system with Chinese characteristics to transliterate place names, conveying Chinese characteristics and displaying the unique charm of Chinese culture to western readers.

However, the translation of ecological culture-loaded words in the translation of Border Town by Dai Naidie does not show distinct characteristics of culture of Xiangxi in the translation of some words. In the text of translation, “有人带了礼物到碧溪岨。掌水码头的顺顺，当真请了媒人为儿子向渡船的攀亲来了。” The translation of this sentence of Dai Naidie, “Sure enough, someone comes bearing gifts to Green Stream, the go-between sent by Shun Shun to approach the ferryman on behalf of his son.” “碧溪岨” was where the heroin and his grandfather lived, who made a living by a ferry boat. There was a babbling brook in front of their house, and the houses were stacked on top of each other along the zigzagging stream. In the back side of the house, the white tower stood tall and upright, and the surroundings were the winding mountain road. Hence the place was named “碧溪岨”. In her translation, Dai Naidie ignored this rich culture-loaded word and directly translated it into "Green Stream", failing to realize the aesthetic transmission of the original text. In another version of translation, "Green Creek Hill" , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.（Guan, 2014:139-141）

For another example, “初五大清早落了点毛毛雨，河上游且涨了点‘龙船水’，河水已变作豆绿色。” Dai Naidie translated this sentence into “A fine rain sets in at dawn on the fifth, the water upstream has begun to rise, and the whole river turns pea-green.” “龙船水” is a natural phenomenon before and after the Dragon Boat Festival in the South China. The warm and damp air flows in the south of China is active, and the cold air from the north area to the south meet, there will be sustained large-scale heavy precipitation normally. After the intense precipitation, the water level of the river will rise rapidly, providing good site conditions for dragon boat racing. Therefore, people named the heavy precipitation during this period “龙船水”. In traditional Chinese culture, “龙船水” contains the function of warding off evil spirits. Hence, people will bath their feet and play in the water to get rid of bad luck and attain luck when “龙船水” comes. Here, the Dai Naidie’s version translation just simply translated “龙船水” into "water". Although with the help of context, some readers can understand the translation, Dai Naidie’s translation ignored the cultural characteristics and connotation of “龙船水” in the culture of Xiangxi and the influence of ecological environment on translation. Therefore, as a translator, Dai Naidie should not only try to preserve and convey the original characteristics of Chinese culture, but follow the authenticity of the original text.(Yin, 2020: 124-128)

=====3.2.2 Analysis on Material Words=====
Material culture refers to a kind of culture between cultural relics and social relations. It involves material processes and material production, and it reflects human emotional costs and material conditions. The cultural carrier vocabulary related to material culture is a mirror image that reflects the unique material and cultural characteristics of a certain language community, including "production of transportation, daily necessities, food, medicine, clothing and measures, etc.". Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.

The word "杜鹃" was textured by Dai Naidie, who translated it into what readers of the target language will know as "Nightingale". Although the nightingale and the cuckoo refer to different things, they both represent sad images in Chinese and Western cultural backgrounds. The nightingale is the incarnation of the ancient Greek tragic woman Procony, and the cuckoo is the reincarnation of Wang Duyu, the General of water control during the war of the Seven Kingdoms -- the nightingale and the cuckoo are endowed with similar emotional images of the traditional eastern and western world respectively. Therefore, the use of nightingale instead of cuckoo not only does not cause the deviation of emotional expression, but helps western readers to comprehend the image in the original text. This approach, on the one hand, takes into account the comprehension ability and scope of the western readers, and at the same time takes into account the traditional eastern cultural color represented by the cuckoo in the original text, which fully demonstrates the excellent female translator's thinking.(Song, 2017:24-27)

“贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。” Dai Naidie translated this sentence into “On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water.” “吊脚楼”, also known as “吊楼”, is a traditional residence of Zhuang, Miao, Dong, Buyi, Tujia and other regions. “吊脚楼” are generally built on the ground by the mountains and rivers. They are supported on flat ground with wooden pillars. They are usually two or three floors. The upper floor is ventilated and dry, and is a living room; the lower floor is closed for animals or piles of debris. Gladys has adopted a free translation method here, translating “吊脚楼” into "houses are built on stilts overhanging the water", which can make the target language readers feel the exotic style of this architecture, but fails to outline the building uniqueness of cultural characteristic in Xiangxi district. It is recommended to change the translation and add footnotes. “吊脚楼”are available in Hunan, Guizhou and other places. The readers are informed that this is a “吊脚楼” building in Xiangxi through foreignized translation strategies, and then the structure and appearance characteristics of the “吊脚楼”are described by adding footnotes, which retains the uniqueness and culture of the term "“吊脚楼”". The connotation makes the target language readers know what it is, and to a certain extent it also spreads Xiangxi culture and Chinese culture.(Yin, 2020: 124-128)

=====3.2.3 Analysis on Social Words=====
Social culture refers to folk customs, beliefs, values, traditions, lifestyles, behavior patterns and organizational activities related to a certain society. The words related to social culture are representations of characteristics of the above aspects. In the long-term development of human civilization, these aspects in one society are significantly different from other societies, thus forming different cultural-loaded words of a society.

“……车是车路，马是马路，各有走法。……” Dai Naidie translated the sentence into “Castles and knights have different moves.” The sentence was able to refer to the discipline of chess game, but in Xiangxi, it contains an entirely different meaning. The “车路” and “马路” were related to the marriage custom of Xiangxi. In China, marriage is the command of parents and the good offices of a go-between. Here, “车路” means to entrust one's life events to a go-between. The go-between is invited to persuade the person of one’s heart to marry. The final success in a large part depends on the go-between’s eloquence and the other person's opinion, which is a passive way of proposing marriage. “马路” represents the initiative to take control of one’s own life events in their own hands, and to spend time and energy singing courtship. The final success depends on their own sincerity which belongs to an initiative way. Dai Naidie used the translation strategy of domestication to translate this sentence. Although it was helpful for the target readers to understand, the cultural characteristics of the sentence were not preserved. From my perspectives, we should preserve “车路” as "Che Lu" and “马路” as "Ma Lu" by using foreignizing translation strategy, and then further explain the actual connotation of these two culture-loaded words in this sentence. This not only preserves the cultural connotation of the original text, but also helps the target language readers understand the specific charm of Chinese culture.(Yin, 2020: 124-128)

“由于边地的风俗淳朴，便是作妓女，也永远那么浑厚，遇到不相熟的主顾，做生意时也得先交钱，数目弄清楚后在关门撒野……妓女多靠四川商人维持生活，但恩情所结，则多在水手方面。” Dai Naidie translated it into "Border ways are so simple that even these girls remain honest. Before entertaining a stranger, they ask for their money and count it before closing the door and getting down to business … Whereas most of the women’ s income comes from merchants, it is usually the boatmen who win their hearts."In this example, the word "妓女" appeared twice. In Traditional Chinese values, this word is derogatory, and women in this industry will not be recognized and accepted by the society. In Shen Congwen's Border Town, prostitutes in the closed Xiangxi town described by Shen Congwen still retain a simple and kind quality belonging to Xiangxi women, although they cannot belong to the mainstream group of society. They are waiting for those travelling merchants or sailors ashore, and some innocent women who had never even crossed out of town, hoping to find their true love.

Dai Naidie translated the two repetitive words "妓女" in the excerpt as "girl" and "woman" respectively. These two words are neutral words, without any derogatory or discriminatory connotation, and more consistent with the original description of women who are forced to work as prostitutes for a living. In Shen Congwen's description, these women do not take pleasure in it, nor do they indulge in self-degradation. Just because they are in the closed small town of Xiangxi, they have not seen too much of the world, and they have no ability to support themselves, so they have to engage in humble and inferior occupation. These women have their own grievances, some even pitiable. Dai Naidie felt deep sympathy for the suffering of these women and could not bear it. As a woman, she consciously avoided the use of misogynistic words and used neutral words in her translation. On the basis of a full understanding of the original text, Dai Naidie described to the target language readers the innocent and simple characteristics of the women in Xiangxi, and then showed the plain local conditions and customs of the water town in Xiangxi. This way of dealing with these women not only did not become the object of public scorn, but more than a point of innocence color; not only does it not distort the original meaning of the author's writing, but it is helpful for the author to express his hometown -- Xiangxi water town nostalgia and yearning. (Song, 2017:24-27)

=====3.2.3 Analysis on Religious Words=====
Religion is the deepest source of all cultures, so differences in religion determine differences in culture. In China, religion is carried out in the daily life of people. In the West, people's daily secular life is carried out in religion. Therefore, in the process of translating vocabulary related to religion between China and the West, the translator will inevitably have a cultural gap. In this case, it is very difficult to fully convey the cultural connotations contained in the source language and make the target language readers have the same reading effect as the source language readers.（Guo, 1998: 12-19）

“老伯伯，你翠翠长得真标志，像个观音样子。再过两年，若我有空闲能留在茶峒照料事情，不必像老鸦到处飞，我一定每夜到这溪边来为翠翠唱歌。”Dai Naidie translated this sentence into “Uncle, your Emerald’s grown into a fine girl, a regular Guan Yin [The Goddess of Mercy]. In a couple of years, if I’m able to roost in Chatong in stead of flying off in all directions. I’ll come to this stream every night to serenade her!” “观音” is a noble and elegant figure in Chinese Buddhism. In Chinese Buddhism, Guanyin Bodhisattva can save all living beings and save people from fire and water. Therefore, it is deeply believed and worshiped by the general public. For the translation of this religious and culturally loaded word, Gladys is faithful to the original work and adopts the translation strategy of "alienation". She translated “观音” into "a regular Guan Yin" and added an endnote to explain it, taking into account the acceptability of the target language readers, and at the same time giving full play to the translator's subjectivity.(Mei, 2018: 157-162)

“过了四七，船总顺顺派人请马兵进城去，商量把翠翠接到他家中去，作为二老的媳妇。” Dai Naidie translated it into “Four weeks after the funeral, the wharf master summons the groom back to the town and proposes again that Emerald should move to his house.” In our country, every seven days after death is an anniversary of death, a memorial ceremony is held. "四七" refers to the fourth anniversary of death. Dai Naidie used the translation strategy of foreignization as “four weeks after the funeral” to express the basic meaning, but is it appropriate to use “week” here? What is special about this "四七"? Why did Cui Cui take over as the second elder's wife after four or seven? Did you miss the cultural factors that are rich in it? In the text, Cui Cui’s grandpa passed away. After the "四七", Cui Cui was a filial child. Dai Naidie only expressed the literal meaning, ignoring the cultural connotation of the original text. It should be translated into “the fourth seven days after the funeral” through the translation strategy of domestication, and the "四七" should be processed by adding footnotes to explain the specific meaning. Because there is a difference between “four weeks after the funeral” and the “fourth seven days after the funeral”, the former is the fifth week after death, that is, the day of death four weeks after death, which is a general term; while the latter refers to the fourth seven days after death, refers specifically to the expression closer to the original text. This helps to attract the target language readers to understand the cultural connotation, so that the target language readers understand and spread Chinese culture.

===Conclusion===
Translation practice examines not only the translation ability of the translator, but the translator also plays a variety of roles while performing translation activities. With the improvement of women's social discourse power, women have begun to consciously assume the cultural identity of translators. As a special group of translators, in addition to choosing materials related to female growth, female translators have unique translator behavior tendencies. ''The Border Town'' translated by Gladys Dai, a female translator, embodies two typical characteristics of female translators: on the one hand, female translators tend to choose neutral words and avoid using negatively discriminatory words; on the other hand, women The translator is more keenly aware of the original author’s linguistic information, and thus puts more emphasis on emotional communication when choosing words. As an indispensable and important component of the translation community, female translators play an increasingly important role.

At the same time, although there are many existing articles on the comparison of translations of ''The Border Town'', there are not many reference translations that can be given after the comparison. There is no definite method in translation, and there is no limit to translation, and the road to translation is long. As a translator, you must dare to make breakthroughs in the process of translation and introduce new ones. When translating culturally loaded words, you must not only take into account the dissemination and acceptance of culture, the culture of the target language reader and the correct dissemination of Chinese culture, but also the loyal original language and the correct dissemination of Chinese culture. The fluent expression of the target language, flexible use of domestication and foreignization translation strategies, transliteration, and footnote methods will enable the target readers to better understand and appreciate Chinese culture in terms of vocabulary and text, and ultimately achieve the purpose of spreading Chinese culture. So as to truly realize the "going out" of Chinese culture.(Yin, 2020: 124-128)

===Reference===
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著(2013). 边城 [M] The Border Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.

Guo Jianzhong郭建中 (1998). 翻译中的文化因素:异化与归化[J]. Cultural Factors in Translation: Foreignization and Domestication. 外国语 Journal of Foreign Languages, 2:12-19.

Guan Xia官霞 (2014). 试论《边城》中文化负载词的翻译——兼议《边城》两英译本[J] On the Translation of Culture – Loaded Expressions in Biancheng. 海外英语 Overseas English, 17:139-141.

Liu Minxia刘霞敏(2007). 翻译中的性别差异及女性身份认同[J] The Gender Difference and Identification in Translation. 外语教学 Foreign Language Education, 2: 91-94.

Mei Qing梅晴(2018). 译者主体性视角下《边城》三个英译本的比较研究[J] A Comparative Study of Three English Versions of The Border Town from the Perspective of Translator's Subjectivity. 兰州教育学院学报Journal of Lanzhou Vocational Technical College, 10:157-162.

Qi Qi祁琦(2020). 戴乃迭、杨宪益《边城》译本中文化负载词的翻译策略及启示[J] The Translation Strategies and Enlightenment of Culturally Loaded Words in the Translation of "Border City" by Gladys Dai and Yang Xianyi. 海外英语 Overseas English, 9:163-164.

Shen Congwen 沈从文(1990). 从文小说习作选. [M]. 上海：上海书店出版社Shanghai: Shanghai Bookstore Publishing House, 1990, 234-237.

Shen Congwen 沈从文(2003). 湘行散记. [M]. 山西：北岳文艺出版社Shanxi: Beiyue Literature and Art Publishing House, 2003. 01, 104-105.

Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲(2017). 从翻译行为到译者行为:戴乃迭女性译者文化身份[J] From Translation Act to Translator Act: The Cultural Identity of Gladys Female Translators. 文学教育(下) Literature Education, 8:24-27.

Sun Ningning孙宁宁,刘亦伟(2013). 流散理论观照下译者文化身份研究:戴乃迭《边城》译本个案分析[J].语文建设Language Planning, 21:49-50.

Yin Lucheng, Liu Rurong尹泸程,刘汝荣(2020). 传播学视角下中国文化负载词的英译——以杨宪益和戴乃迭的《边城》译本为例[J] On the Translation of Culture-loaded Words from the Communication Perspective: A Case Study of The Border Town Translated by Yang Hsien-yi and Gladys Yang. 湖南第一师范学院学报 Journal of Hunan First Normal University, 01:124-128.

Zhou Na周娜(2021).跨文化视域下英汉文化负载词中概念隐喻翻译现象分析[J] An Analysis of the Translation Phenomenon of Conceptual Metaphors in Culturally Loaded Words in English and Chinese from a Cross-cultural Perspective. 今古文创 JinGu Creative Literature, 42:125-126.

Culture loaded words

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Cheng Yang:

20211222 homework

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Cheng Yang: /* 陈心怡 Chén Xīnyí 翻译学女 202120081481 */

20211222 homework

2021-12-29T14:32:02Z

Cheng Yang: /* 程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482 */

20211215 homework

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Cheng Yang: /* 程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482 */

20211103 homework

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Cheng Yang:

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==陈静 Chén Jìng 国别女 202020080595==

由于八旗官学中向来有习清书、习汉书之分的传统，礼部遂奏请采用不同方式，对应试者分别考试翻译或清字文，无论乡试、会试，皆是如此，而区别只在于会试时针对应试者学习语言的不同背景，各自增加了一道题量，即，习汉字者除了考试汉字文翻译，另考试文章一篇，习清文者则在乡试的基础上，增试清字文一篇。这一规定既针对八旗满洲，也针对八旗蒙古，但不针对八旗汉军，后者的考试内容与普通汉族士子相同。同时，礼部也奏请对笔帖式和他赤哈哈番、哈番（即，笔帖式哈番）参加乡、会试进行规定，其中前者参加乡试，后二者参加会试。
Since there has always been a tradition of learning the Books of Qing style and the Book of Han style in the Eight Banners Official Schools, the Ministry of Rites adopted different ways to test translation or the article forming in the style of Qing Dynasty for the candidates, regardless of the rural test and the meeting test. The difference is that only the number of questions was increased according to the different backgrounds of the candidates’ language learning in the meeting test. That is to say, in addition to the translation of the language of Han, the Chinese learners of Han Style also had one test article. On the basis of the rural test, the Qing learners added one test article of its language. This regulation is for the Eight Banners of Man Region and Men’gu, but not for the Eight Banners of Han Army. The test content of the latter is the same as that of the ordinary Han scholars. At the same time, the Ministry of Rites also invited two region that besides the Eight Banners to participate in the rural and meeting examinations. The former participated in the rural examination, and the latter two participated in the meeting examination.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 15:20, 30 October 2021 (UTC)

Since there has always been a tradition of learning Qing books and Han books in the Eight Banners official school, the Ritual Department asked to use different methods. The corresponding subjects were tested for translation or Qing characters, both in the provincial examination and the joint examination. The only difference is that when the joint examination was held, one question was added to the corresponding subjects' different backgrounds of learning the language, that is, in addition to testing the translation of Chinese characters, Another examination article was given, while those who studied Qing characters added one article written by Qing characters on the basis of the township examination. This provision is not only for Manchuria of the Eight Banners, but also for Mongolia of the Eight Banners, but not for the Han army of the Eight Banners. The examination content of the latter is the same as that of ordinary Han scholars. At the same time, the Ministry of rites also asked for regulations on the participation of pen style and his Chi ha fan and ha fan (i.e. pen style ha fan) in the township and joint examination, in which the former participated in the township examination and the latter two participated in the joint examination.

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 15:40, 30 October 2021 (UTC)

==蔡珠凤 Cài Zhūfèng 日语语言文学女 202120081477==

上文引用的内容也出现在《雍正会典》（又称《（雍正）大清会典》），以及两部《钦定大清会典事例》（嘉庆、光绪）中，三者都明确提到停止（八旗）考试的具体时间，即顺治十四年（1657年），而且三者中都加有“按语”，进一步说明此事。其中，《雍正会典》中的说法是“此后复行考试，与汉人一体。停止翻译”，《钦定大清会典事例》中的说法则是“康熙二年（1663）谕：满洲、蒙古、汉军生员俱准乡试。此后惟翻译未经举行。”

The content quoted above also appears in the Yong Zheng canon . (also known as the (Yong Zheng) Qing Dynasty canon ) and the two cases of imperial Qing canon (Jia Qing and Guang Xu). The three all clearly mentioned the specific time to stop the (eight banners) examination, that is, the 14th year of Shun Zhi (1657), and "notes" were added to further explain the matter. Among them, the statement in the Yong Zheng canon is that "after that, the examination will be resumed and integrate with the Han people.Stop translation". The statement in the case of the imperial Qing canon is that "in the second year of Kang Xi (1663), the Manchurian, Mongolian and Han Army students will be allowed to take the provincial examination. Since then, only the translation has not been held."

--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 02:20, 28 October 2021 (UTC)

The content quoted above also appears in the Code of Yongzheng . (also known as the (Yong Zheng) Code of Great Qing Dynasty) and the two cases of Regulations on Code of Great Qing Dynasty (Jia Qing and Guang Xu). The three all clearly mentioned the specific time to stop the (eight banners) examination, that is, the 14th year of Shun Zhi (1657), and "notes" were added to further explain the matter. Among them, the statement in the Code of Yongzheng is that "after that, the examination will be resumed and integrate with the Han people.Stop translation". The statement in the case of the Regulations on Code of Great Qing Dynasty is that "in the second year of Kang Xi (1663), the Manchurian, Mongolian and Han Army students will be allowed to take the provincial examination. Since then, only the translation has not been held."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:39, 5 November 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

（允禄等，1995：4619-4620；托津等，1991：2659-2662；昆冈等，1963：657）从《雍正会典》的记载及其“按语”看，至少可以推导出两点：其一，八旗科举考试始于顺治十四年前，但十四年即停办；其二，顺治十四年前，翻译科便已存在。顺治十四年以后，八旗科举考试得以恢复，但翻译科举仍被停止。

(Yunlu et al., 1995: 4619-4620; Tojin et al., 1991: 2659-2662; Kungang et al., 1963: 657) From the records of the "Code of Yongzheng" and its "notes", at least two points can be deduced : First, the Eight Banners imperial examination began 14 years ago in Shunzhi, but it was suspended after 14 years; second, the translation department already existed 14 years ago in Shunzhi. Fourteen years after Shunzhi, the Eight Banners imperial examination was resumed, but the translation of the imperial examination was still suspended.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:44, 5 November 2021 (UTC)

(Yunlu et al., 1995: 4619-4620; Tojin et al., 1991: 2659-2662; Kungang et al., 1963: 657) From the records of the "Code of Yongzheng" and its "notes", at least two points can be infered: First, the Eight Banners imperial examination began 14 years ago in Shunzhi, but it was suspended in the 14th year; second, the translation department has already existed 14 years ago in Shunzhi. Fourteen years after Shunzhi, the Eight Banners imperial examination was reheld, but the translation of the imperial examination was still suspended.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 13:23, 7 November 2021 (UTC)Chen Huini

==陈惠妮 Chén Huìnī 英语语言文学（英美文学）女 202120081479==

《雍正会典》中的这一记载与两部《钦定大清会典事例》中的说法如出一辙，后二者也将顺治八年的八旗科举考试视作翻译科的第一事例。而且，三种文献均提到了停办翻译科的事，即“停止翻译”和“此后惟翻译未经举行”。固然，无论是天聪八年的八旗乡试，还是顺治八年礼部研议的八旗科举，二者皆与翻译考试有关，但就性质与意义而言，它们都不是翻译科之缘起。

This record in ''The Yongzheng Ceremony'' is the same as that in ''The Two Imperial Examinations'' of the Qing Dynasty, which also regarded the Eight Banners imperial examination in the eighth year of Shunzhi as the first example of translation. Moreover, the closure of the translation section is mentioned in all three documents, namely, "the cessation of translation" and "only translation has not been held since then". Of course, both the Eight Banners township examination held in the eighth year of Tiancong and the Eight Banners examination discussed by the Ministry of Rites in the eighth year of Shunzhi are related to translation examination, but in terms of nature and significance, they are not the origin of translation study.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:25, 30 October 2021 (UTC)Chen Huini

This record in ''The Yongzheng Ceremony'' is the same as that in ''The Two Imperial Examinations'' of the Qing Dynasty, which also sees the Eight Banners imperial examination in the eighth year of Shunzhi as the first example of translation. Moreover, the closure of the translation section is mentioned in all three documents, namely, "the cessation of translation" and "only translation has not been held since then". Of course, both the Eight Banners township examination held in the eighth year of Tiancong and the Eight Banners examination discussed by the Ministry of Rites in the eighth year of Shunzhi are related to translation examination, but with regard to essence and significance, they are not the origins of translation study.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 11:21, 3 November 2021 (UTC)

==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学女 202120081480==

《清实录·世祖章皇帝实录》和《八旗通志·初集》中，均将顺治八年的旗人考试称为“八旗科举”或“八旗考试”，而没有将其称作“翻译科举”或“翻译考试”，由此可知二者之区别。《钦定八旗通志》中，虽然用了“翻译考试”或“考试翻译”等字眼描述顺治时期的八旗科举，并将其视作翻译科举之源，且《清实录·圣祖仁皇帝实录》中也有康熙二年“复行满洲、蒙古、汉军翻译乡试”的记载，但上述记录实为误记的可能性较大，不排除系实录馆馆臣或编纂者依据雍正年间的情形误植所致。（叶高树，2013：52）

In ''Veritable Records of Qing Dynasty ·Veritable Records of Shunzhi Emperor'' and ''The General Annals of the Eight Banners '' , in stead of "translation imperial examination" or "translation exam", Qi's selection in 1651 were all called "Eight Banners imperial examination" or "Eight Banners exam"， which showed the difference between those two exams.In ''The General Annals of the Eight Banners Dedicated to the Emperor''，though “translation examination” and “test for translation ability” were used to describe Eight Banners imperial examination during Shunzhi's period and researchers took it as the origin of translation imperial examination as well as a record in ''Veritable Records of Qing Dynasty ·Veritable Records of Kangxi Emperor'' of reinstating translation exam in rural areas of Man,Meng and Han places in 1662. But it is possibly wrong information and can not exclude the situation that officials were mistaken by records of Yongzheng Emperor.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 07:49, 29 October 2021 (UTC)

In Qing Record and Record of Shunzhi Emperor and The General Annals of the Eight Banners , in stead of "translation imperial examination" or "translation exam", Qi's selection in 1651 were all called "Eight Banners imperial examination" or "Eight Banners exam", which showed the difference between those two exams.In The General Annals of the Eight Banners Dedicated to the Emperor, though “translation examination” and “test for translation ability” were used to describe Eight Banners imperial examination during the period of Shunzhi and were regarded as the origin of translation imperial examination. And in Qing Record and Record of Kangxi Emperor also had the record of resuming the Manchurian, Mongolian, Chinese army translation Provincial Examination" in 1662, but the above record is actually a greater possibility of misinformation, do not exclude the fact that the Museum of factual records or compilers based on the Yongzheng years of the situation misplanted. (Ye Gaoshu, 2013: 52) --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 04:03, 1 November 2021 (UTC)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

有清一代，以“翻译”之名选拔八旗士子的科目很多，如庶吉士、翻译庶吉士、笔帖式等，但这些考试属于各部院衙门自行选用人才的方式，均未形成独立建制，与文科举并行。所谓顺治时期八旗考试中的“翻译考试”或“考试翻译”，也只是一种考试的内容或形式，并非是一种科考制度。

三、《八旗通志》等关于翻译科创建时间的订正。

In Qing dynasty, there were many subjects to select scholars of the eight banners in the name of "translation", such as the Hanlin Bachelor, Hanlin Bachelor of translation, and Clerk etc. But these examinations belonged to the various ministries and agencies to choose their own way of talent, had not formed an independent establishment. They were held in parallel with arts. The so-called eight banners in the Shunzhi period examination "translation examination" or "examination of translation" was only a test content or form, not a system of the imperial civil examination.
Third, The General Annals of the Eight Banners and other revisions on the creation of the examination of translation. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 07:06, 28 October 2021 (UTC)
In Qing dynasty, there were many subjects to select scholars of the Eight Banners in the name of "translation", such as the Hanlin Bachelor, Hanlin Bachelor of translation, and Clerk etc. But these examinations belonged to various ministries and agencies to choose their own ways of selecting talents, had not formed an independent establishment, which were held in parallel with arts. The so-called “translation examination" or "examination of translation" of Eight Banners in Shunzhi period was only a content or form of it, not a system of the imperial civil examination.
Third, ''The General Annals of the Eight Banners'' and other revisions on the creation of the examination of translation.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:28, 2 November 2021 (UTC)

==程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482==

如前所述，天聪八年的八旗考试虽然有着不同类型之分，如满洲习满书、满洲习汉书等，本质上却是“语文测验”，而非翻译科考。同理，顺治八年的八旗科举虽然包含翻译考试的项目，但所谓翻译考试也只是八旗文科举的附设环节，尚未独立成科。凡此二者，皆与雍正元年研拟并于翌年首次开科，且具有独立、自主的制度设计的翻译科明显不同。
As mentioned above, although the examinations of the Eight Banners had different types during the eighth year of Tian Cong, the reign title of Qing Dynasty, such as learning Manchurian books in Manchu, learning Han books in Manchu, etc.,which were essentially a “language test” rather than a translation examination. Similarly, although the imperial examination of Eight Banners in the eighth year of Shun Zhi, a reign title of Qing Dynasty, included the translation examination, the so-called translation examination was only an ancillation of it, which had not become an independent subject. Both of them were significantly different from the examination of translation, which was discussed and formulated in the first year of Yong Zheng, a reign title of Qing Dynasty, and opened the following year, having an independent and autonomous system designation.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:54, 2 November 2021 (UTC)

As it mentioned above, although the examinations of the Eight Banners had different types during the eighth year of Tian Cong, such as learning Manchurian books in Manchu and learning Han books in Manchu etc, they were essentially a “language test” rather than a translation examination. Similarly, although the imperial examination of Eight Banners in the eighth year of Emperor Shun Zhi included the translation examination, the so-called translation examination was only an ancillation of it, which had not become an independent subject. Both of them were significantly different from the examination of translation, which was discussed and formulated in the first year of Emperor Yong Zheng, a reign title of Qing Dynasty, and opened the following year, having an independent and autonomous system designation.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 10:59, 3 November 2021 (UTC)

[[File:Example.jpg]]

==丁旋 Dīng Xuán 英语语言文学（英美文学）女 202120081483==

《雍正会典》与两部《钦定大清会典事例》中，关于翻译科创设的说法不仅与《清实录·世祖章皇帝实录》冲突，也与《八旗通志》等存在较大出入。《八旗通志》和《钦定八旗通志》中，也将顺治八年、十一年两榜满、蒙举人和进士，归于“文举人”和“文进士”之列，而不是“翻译举人”和“翻译进士”之列，并把首科翻译举人归为雍正二年甲辰科，而将首科翻译进士归为乾隆四年己未科。（鄂尔泰等，1985：3393-3396、3419-3422；铁保等，1968：811-813、828-830）

The record of the foundation of translation subject in ''Record of Laws and System of Yongzheng Dynasty'' and ''Authorized Record of Laws and System of Qing Dynasty'' is in conflict with even largely different from that in ''Qing Record and Record of Shi Zuzhang Emperor'' and ''Eight Banners Annals''. In ''Eight Banners Annals'' and ''Authorized Eight Banners Annals'', two lists of Manchu and Mongolian candidates in the imperial examinations at the provincial level and the highest imperial examinations were enrolled to the field of literature rather than translation in the eighth and eleventh years of Shunzhi emperor. Besides, the translation candidates from provincial level of the initial subject were enrolled to Jiachen subject in the second year of Yongzheng emperor and the translation candidates in the highest imperial examinations were distributed to Jiwei subject in the fourth year of Qianlong emperor. (Ertai etc, 1985: 3393-3396、3419-3422；Tie Bao etc，1968：811-813、828-830)--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:58, 29 October 2021 (UTC)

The record of the foundation of translation subject in ''Record of Laws and System of Yongzheng Dynasty'' and ''Authorized Record of Laws and System of Qing Dynasty'' is in conflict with even largely different from that in ''Qing Record and Record of Shi Zuzhang Emperor'' and ''Eight Banners Annals''. In ''Eight Banners Annals'' and ''Authorized Eight Banners Annals'', two lists of Manchu and Mongolian candidates in the imperial examinations at the provincial level and the highest imperial examinations were enrolled to the field of literature rather than the translation in the eighth and eleventh years of Shunzhi emperor. Besides, the translation candidates from provincial level of the initial subject were enrolled to Jiachen subject in the second year of Yongzheng emperor and the translation candidates in the highest imperial examinations were enrolled to Jiwei subject in the fourth year of Qianlong emperor. (Ertai etc, 1985: 3393-3396、3419-3422；Tie Bao etc，1968：811-813、828-830)--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:21, 3 November 2021 (UTC)

==杜莉娜 Dù Lìnà英语语言文学（语言学）女 202120081484==

显然，在《八旗通志》和《钦定八旗通志》的编纂者看来，顺治八年、十一年的两科举人与进士均不是出自翻译科举，而是出自八旗文科举。从清代进士题名碑的情况看，也可知翻译科并非始设于顺治年间。例如，在由北京图书馆金石组编写出版的《中国历代石刻拓本汇编》（1990）一书中，收录了顺治九年、十二年两榜进士的题名碑，但题名碑的书写与文进士题名碑并无不同，碑头和碑文中都没有出现“翻译”字样。

Obviously, in the opinions of editors of ''The General Annals of the Eight Banners'' and ''The General Annals of the Eight Banners Dedicated to the Emperor'', both Ju ren and Xiu cai of two subjects in the eighth year and eleventh year of Shunzhi were not from the imperial examinations of translation but from liberal arts. According to the name of Jin shi inscribed on the stones in Qing dynasty, the imperial examinations of translation did not start with the period of Shunzhi. For instance, edited and published by Jin Shi of National Library of China, ''The Collection of Stone Inscriptions and Rubbings in Past Chinese Dynasties'' (1990)includes the inscription stones in the ninth year and twelfth year of Shunzhi. But there is no difference in the description on the stone compared with the stone of Jin shi of liberal arts, and the word “translation” do not appear no matter in the beginning or the text.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 06:20, 28 October 2021 (UTC)

Obviously, in the opinions of editors of ''The General Annals of the Eight Banners'' and ''The General Annals of the Eight Banners Dedicated to the Emperor'', both Ju ren and Xiu cai of two subjects in the eighth year and eleventh year of Shunzhi were not from the imperial examinations of translation but from liberal arts. According to the name of Jin shi inscribed on the stones in Qing dynasty, the imperial examinations of translation did not start with the period of Shunzhi. For instance, edited and published by Jin Shi of National Library of China, ''The Collection of Stone Inscriptions and Rubbings in Past Chinese Dynasties'' (1990)includes the inscription stones in the ninth year and twelfth year of Shunzhi. But there is no difference in the description on the stone compared with the stone of Jin shi of liberal arts, and the word “translation” do not appear either in the beginning or the text.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 03:08, 5 November 2021 (UTC)

==付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485==

而同书在处理乾隆年间的四科翻译会试（即四年己未科、十年乙丑科、十三年戊辰科，以及十六年辛未科）时，碑头和碑文中却明确标注“翻译进士”，或“翻译会试”字样。（北京图书馆金石组，1990：52、169；24、146）同样的情况也见于《国朝历科题名碑录初集》，本书中关于顺治期间两榜进士（九年壬辰科、十二年乙未科）的称呼也只是“满洲进士”，而不是“翻译进士”，而且该书收录的题名中皆为文进士，未见有翻译进士。
However, when it comes to the collected works related imperial translation examination (the fourth, tenth, thirteenth and sixteenth years of Qianlong period) in the book mentioned above, there was clear inscription of “translation scholar or translation imperial examination” on the tablet head and inscription (Jin Shizu, Beijing Library, 1990: 52、169; 24、146). It’s true of A preliminary collection of inscriptions and stele of calendar subjects in the national Dynasty, in which the title of two Jinshi (the ninth year and twelfth of Shunzhi ) was just Manchu Jinshi, rather than translation Jinshi. Furthermore, the book included not translation Jinshi, but literal Jinshi. --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 03:00, 5 November 2021 (UTC)

However, when it comes to the collected works related the imperial examinations of translation (namely, the fourth, tenth, thirteenth and sixteenth years of Qianlong period) in the book mentioned above, there was clear indication of “Jinshi (''a successful candidate in the highest imperial examinations'') of translation or imperial examination of translation” on the tablet head and inscription (''Jin Shi of National Library of China'' , 1990: 52、169; 24、146). It’s true of ''The Preliminary Collection of The Inscriptions of Passers Lists in Past Chinese Dynasties'', in which the name of the two Jinshi lists in the ninth year and twelfth of Shunzhi period was just Manchu Jinshi, rather than translation Jinshi. Furthermore, the book included not “Jinshi of translation”, but “Jinshi of liberal arts”.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 04:03, 5 November 2021 (UTC)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

由此可知，《雍正会典》和两部《会典事例》将顺治八年看作翻译科之起点确系误记。值得注意的是，《（康熙）大清会典》中，并没有录入“翻译科”的条目，这一点表明编纂者或许已对翻译科有了重新认识。《清实录·世祖章皇帝实录》中说，顺治十四年正月，世祖降旨吏、礼、兵三部，要求“今后限年定额考取生童，乡会两试，俱着停止，各部院衙门取用人员不必分别满汉文学”，但此处诏令停办的乡、会试同样只是八旗科举文试，而不是翻译考试。

From this, it can be seen that ''Record of Laws and System of Yongzheng Dynasty'' and the two ''Authorized Record of Laws and System of Qing Dynasty'' actually mistook the eighth year of Shunzhi for the starting point of the imperial translation examination. It is worth noting that in the "''Record of Laws and System of Kangxi Dynasty''", there is no entry for a item of "the imperial translation examination", which indicates that the editor may have a re-understanding of it. According to the "''Qing Record and Record of Shi Zuzhang Emperor and Eight Banners Annals''", in the first month of the fourteenth year of Shunzhi, Shizu issued an edict to ministries of Administration, Rites, and Military Affairs , demanding that "From now on, there would be limitations on the participant numbers and the years of the imperial examination to admit scholars. The county examination and the metropolitan examination would be also suspended. And it would be not necessary for every ministry to separate Manchu and Chinese literature when hiring officials." However, the two examinations that were suspended here were also the Manchu’s Imperial Examination, not the translation examination.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:15, 30 October 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:15, 30 October 2021 (UTC)

From this, it can be seen that the ''Yongzheng Huidian'' and the two ''Huidian Shili'' actually mistook the eighth year of Shunzhi for the starting point of the imperial translation examination. It is worth noting that in the ''Da Qing Huidian'' (Kangxi edition), there is no such entry as "the imperial translation examination", which indicates that the editor may have a re-understanding of it. According to the "Factual Record of Qing Dynasty: Actual Record Of Shizu", in the first month of the fourteenth year of Shunzhi, Shizu issued an edict demanding that, “from now on, ministries of Administration, Rites, and Military Affairs, admit a limited number of students and only in designated years, suspend the county examination and the metropolitan examination, and stop separating Manchu and Chinese literature when selecting officials.” However, the two examinations that were suspended here were also the Manchu’s Imperial Examination, not the translation examination.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:39, 30 October 2021 (UTC)

==高蜜 Gāo Mì 翻译学女 202120081487==

（鄂尔泰等，1985：831-832）事实上，早在顺治朝以前，也曾有开科取士的情况，如天聪八年太宗皇太极命刚林、恩国泰等十六人“俱赐为举人”，崇德三年、六年又取中两榜举人，但上述三科同样并非翻译科。（铁保等，1968：780-781）毫无疑问，顺治时期的八旗科举和雍正元年初设的翻译科考之间有着渊源关系。

（E Ertai, etc., 1985:831-832）In fact, long before the reign of Emperor Shunzhi, there had been cases of selecting scholars through examinations. For example, in 1634, the eighth year of Tiancong, Hong Taiji issued a dree that granted sixteen candidates the title of Juren, including Gang Lin, En Guotai, etc. Again, in the third and the sixth years of Chongde respectively, Juren was selected through the county examination and the palace examination (Tie Bao, etc., 1968:780-781). There is no doubt that the imperial translation examination established in the first year of Emperor Yongzheng is related to the Eight Banners' Imperial Examination during Emperor Shunzhi's reign. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:43, 30 October 2021 (UTC)

（E Ertai, etc., 1985:831-832）In fact, long before the reign of Emperor Shunzhi, there had enlisted talents through the old civil service examination system. For example, in 1634, the eighth year of Tiancong, Hong Taiji issued a dree that granted sixteen candidates the title of Juren, including Gang Lin, En Guotai, etc. Again, in the third and the sixth years of Chongde respectively, Juren was selected through the county examination and the palace examination (Tie Bao, etc., 1968:780-781). There is no doubt that the imperial translation examination established in the first year of Emperor Yongzheng is related to the Eight Banners' Imperial Examination during Emperor Shunzhi's reign. --[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 10:57, 3 November 2021 (UTC)

==宫博雅 Gōng Bóyǎ 俄语语言文学女 202120081488==

首先，顺治朝的八旗科举与翻译科考一样，都有为旗人开设专科的倾向，只不过在前者中满洲和蒙古合为一榜，汉军与汉人合为另一榜，而翻译科考则容括了汉军。其次，就考试内容而言，顺治年间的翻译考试只针对识汉字者，翻译并非考试的全部内容，而翻译科考则主要考察应试者的翻译能力，以实现满、蒙、汉等多种语言融通。雍正朝以后，虽然历代统治者对翻译科考进行了这样或那样的调整与改革，但翻译科考的制度雏形却在顺治朝时已然形成。

First of all, the eight Banners imperial examination system of Shunzhi Dynasty had the same tendency to set up special subjects for Bannermen as the translation imperial examination system, but in the former, Manchuria and Mongolia were combined into one ranking list, and the Han banner and the Han people were combined into another ranking list, while the translation imperial examination included the Han banner. Secondly, as far as the test content is concerned, the translation imperial examination in Shunzhi period was only for those who knew Chinese characters, and translation was not the whole content of the test, while the translation imperial examination mainly examined the translation ability of those who took the test, so as to achieve mastery of manchu, Mongolian, Chinese and other languages. After the Yongzheng Dynasty, although successive rulers made some adjustments and reforms, the embryonic form of translation imperial examination system had been formed in the Shunzhi Dynasty. --[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:58, 30 October 2021 (UTC)

First of all, the Eight Banners imperial examination and translation examination in Emperor Shunzhi’s reign tended to be exclusive to the Eight Banners. But in the former, Manchuria and Mongolia were included on one ranking list; the Han armies and the Han people were included on another ranking list, while in the later the Han armies were included. Secondly, in terms of test content, the translation imperial examination in Shunzhi’s reign was only for those who knew Chinese characters, and translation was not the whole content of the test, while the translation imperial examination mainly examined the translation ability of participants, so as to achieve communication of Manchu, Mongolian, Chinese and other languages. Since the Emperor Yongzheng’s reign, although successive emperors made some adjustments and reforms, the original form of translation imperial examination had been formed in Emperor Shunzhi’s reign. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:41, 3 November 2021 (UTC)

==何芩 Hé Qín 翻译学女 202120081489==

可以认为，顺治朝时期的翻译考试为雍正帝创设翻译科考，以及日后各朝的修订与完善，打下了良好基础。

四、《钦定国子监志》对于翻译科缘起的补正

与《八旗通志》、《钦定八旗通志》和《国朝历科题名碑录初集》等不同，清代历史文献中，也有将顺治八年、十一年两榜举人与进士称作翻译举人与翻译进士的情况。

It is fair to say that the translation examination set up in Emperor Shunzhi’s reign has established a solid foundation for Emperor Yongzheng to include it into the Imperial Examination and for future revisions in the following dynasties.

4. ''The Imperial Academy Journal Dedicated to the Emperor''——supplement to the Translation Examination in the Imperial Examination

Different from ''General Annals of the Eight Banners'', ''General Annals of the Eight Banners Dedicated to the Emperor'' and ''National Collection of Stele Inscriptions'', some historical documents refer the Jin shi and Juren in 8th and 11th year of Emperor Shunzhi’s reign as Jinshi in translation and Juren in translation.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 11:42, 3 November 2021 (UTC)

It can be considered that the translation examination in the Shunzhi period laid a good foundation for the establishment of the translation examination by Emperor Yongzheng, as well as the revision and improvement of the dynasties in the future.
Ⅳ. Regarding the supplements and corrections of the origin of the translation department, "Imperial College Annal" was different from ''General Annals of the Eight Banners'', ''General Annals of the Eight Banners Dedicated to the Emperor'' and ''National Collection of Stele Inscriptions''. In the historical documents of the Qing Dynasty, there were cases in which provincial graduates and metropolitan graduates during the eighth year of Shunzhi and the eleventh year of Shunzhi were referred to as provincial graduates of translation and metropolitan graduates of translation.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 13:43, 5 November 2021 (UTC)

==胡舒情 Hú Shūqíng 英语语言文学（语言学）女 202120081490==

例如，在沈廷芳辑注的《馆选录》和朱汝珍辑注的《词林辑略》中，顺治年间识汉字且通过考试翻译中式举人和进士者，往往被称为翻译举人、翻译进士。如满洲正白旗人达哈塔于顺治九年壬辰科中进士，被称为翻译进士，并分派至内院学习，正白旗人玛尔汉，则被称作“顺治甲午翻译举人”。（邹长清，2011：357）然而，据前文关于顺治年间八旗科举考试的分析可知，这样的称呼与事实不符。

For example, in Shen Tingfang's ''Collections of Officials' Candidates'' and Zhu Ruzhen's ''Abstracts of Officials’ Names of Literati House'', in the Shunzhi period, those people, who knew Chinese characters and passed the test translation to be provincial graduates and metropolitan graduates, were usually called provincial graduates of translation and metropolitan graduates of translation. For instance, Dahata, a man from the White Banner of Manchuria, was a metropolitan graduate in the ninth year of Shunzhi, called a metropolitan graduate of translation and assigned to study at adytum. Malhan, the White Banner people, was called “the Shunzhi Jiawu provincial graduate of translation" (Zou Changqing, 2011: 357). However, according to the previous analysis of the Eight Banners imperial examinations during the Shunzhi period, such titles did not match the facts.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 13:36, 5 November 2021 (UTC)

For example, during the reign of Emperor Shunzhi the Chinese learners who passed the translation examination and become provincal graduates or metropolitan graduates were called provincial graduates of translation and metropolitan graduates of translation according to the edition and annotation of Shen Tingfang's Collections of Officials and Zhu Ruzhen's Abstracts of Officials. So Dahata, a man from the White Banner of Manchuria, was a metropolitan graduate in the ninth year of the reign of Shunzhi. He was regarded as metropolitan graduate of translation and appointed to work at adytum. And Malhan,a White Banner, was viewed as "provincial graduate of translation in Shunzhi Jiawu period" (Zou Changqing, 2011: 357). However, according to the previous analysis of the Eight Banners imperial examinations during the Shunzhi period, such titles did not match the facts.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 00:46, 6 November 2021 (UTC)

==黄锦云 Huáng Jǐnyún 英语语言文学（语言学）女 202120081491==

顺治年间的八旗士子，无论习清语，还是习汉语，都是一体考试。只不过，对于识汉字者而言，考试中增加了翻译的环节（内容），但考试本身仍归属文科举范畴。然而，由于编纂者的误解或误记，致使讹错流传。

During the reign of Emperor Shunzhi, students from the eight banners took the same examination no matter what language they used. Though a translation part was added for Chinese learner, the examination itself belonged to liberal studies. Unfortunately, with the misunderstanding or negligence of the editors it was mistakenly recorded and spread to the descendants.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 29 October 2021 (UTC)

During the reign of Emperor Shunzhi, all the candidates from the eight banners took the same examination no matter what language they used. Though a translation part was added for Chinese learner, the examination itself belonged to liberal arts. Unfortunately, with the misunderstanding and misdescription of the editors, it was mistakenly recorded and passed on to the descendants.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:52, 1 November 2021 (UTC)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==
如《国子监志》卷四八《金石三》中，便将顺治九年、十二年两科及第者俱称“翻译进士”：九年壬辰科，赐邹忠倚等三百九十七名及第出身题名碑，又赐翻译进士麻勒吉等五十名及第出身题名碑。以上五碑在大成门外之东南向。

In the 48th volume of the Record of Imperial College, candidates who have passed the imperial examination were called "Translation Scholars" in the 9th year and 12the year during the reign of emperor Shunzhi. It was recorded that in the 9th year during the governance of emperor Shunzhi, the names of South Zhongyi and other 397 successful candidates in the highest imperial examination and Majile and other 50 Translation Scholars are inscribed on the stone tablet. And the five carved stone tablets were located southeast to the Dacheng Doors.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 11:44, 1 November 2021 (UTC)

In the 48th volume of the Record of Imperial College, candidates who have passed the imperial examination were called "Translation Scholars" in the 9th year and 12th year during the reign of Emperor Shunzhi. It was recorded that in the 9th year during the governance of emperor Shunzhi, the names of South Zhongyi and other 397 successful candidates in the highest imperial examination and Majile and other 50 Translation Scholars are inscribed on the stone tablet. And the five carved stone tablets were located southeast to the Dacheng Doors.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 09:28, 7 November 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

十二年乙未科，赐史大成等三百九十七名及第出身题名碑，又赐翻译进士图尔宸等五十名及第出身题名碑。以上五碑在大成门外之东南向。（梁国治，1986：527）《国子监志》由乾隆十三年进士梁国治奉敕纂辑，全书共六十二卷，分圣谕和御制诗文等，后者依类分载于各“志”。In the Imperial Competitive Examination in the 12th year of Emperor Shunzhi's ruling(lunar ca;endar the Year of Goat[Yi Wei], 397 members such as Shi Dacheng and 50 members of Translation Jinshi such as Tu Erchen were all given a great honor that their name will appear in the monument which only the names of Jinshi can be engraved. The above five monuments are southeast of Dacheng Gate. (Liang Guozhi, 1986:527) ''The Records of the Imperial Academy'' was compiled by Liang Guozhi under the order of Emperor Qian'long in the 13th year of his ruling. The whole book has 62 volumes, including holy edicts and emperor's-- poems. The latter is contained in various "records" according to categories.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 07:52, 29 October 2021 (UTC)Huang Zhuliang

In the Imperial Competitive Examination in the 12th year of Emperor Shunzhi's ruling(lunar ca;endar the Year of Goat[Yi Wei], 397 members such as Shi Dacheng and 50 members of Translation Jinshi such as Tu Erchen were all given the birth inscription Jinshi monument by the emperor. The whole book has 62 volumes, including holy edicts and emperor's-- poems. The latter is contained in various "records" according to categories. The above five monuments are southeast of Dacheng Gate. (Liang Guozhi, 1986:527) ''The Records of the Imperial Academy'' was compiled by Liang Guozhi under the order of Emperor Qian'long in the 13th year of his ruling. The whole book has 62 volumes, including holy edicts and emperor's articles and poems. The latter is contained in various "records" according to categories.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:46, 2 November 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

按照上述记载，麻勒吉、图尔宸等都被称作翻译进士，由皇帝赐及第出身题名碑。顺治九年，朝廷决定以满、汉分科的形式开科取士，麻勒吉于同年壬辰科考取会试第一，殿试一甲第一，一甲其余二人为折库纳与巴海，俱赐进士及第出身。然而，尽管麻勒吉后来授封教习庶吉士，但其本人并非翻译进士，这一点从《题名碑录》、《进士题名碑录》以及《八旗通志》等文献中均可得到应证。
According to the above records, Maleji, Turchen etc,their were all called translator Jinshi(the successful candidates in the highest imperial examinations) and were given the birth inscription Jinshi monument by the emperor.In the 9th year of emperor Shunzhi, the imperial court decided to establish a division of Manchu and Han disciples to select scholars. In the same year, Maleji won the first place in the general examination,and the first in the imperial examination, the other two people were Zhekuna and Bahai, both of whom were given the birth inscription of Jinshi.However, although Maleji later was conferred the title of Hanlin Bachelor, he himself was not a translator Jinshi, which can be proved by many documents such as Block-printed copy of the inscribing on the stone,Block-printed copy of the inscribing of Jinshi on the stone, General Annals of Eight Banners.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:52, 28 October 2021 (UTC)

According to the above records, Maleji, Turchen etc,their were all called translator Jinshi(the successful candidates in the highest imperial examinations) and were given the birth inscription Jinshi monument by the emperor.In the 9th year of emperor Shunzhi, the imperial court decided to establish a division of Manchu and Han disciples to select scholars. In the same year, Maleji won the first place in the general examination,and the first in the imperial examination, the other two people were Zhekuna and Bahai, both of whom were given the birth inscription of Jinshi.However, although Maleji later was conferred the title of Hanlin Bachelor, he himself was not a translator Jinshi, which can be proved by many documents such as ''Block-printed copy of the inscribing on the stone'',''Block-printed copy of the inscribing of Jinshi on the stone'', ''General Annals of Eight Banners''.

==邝''Italic text''艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

《国子监志》于乾隆四十三年奉敕纂辑，并被收入《四库全书》之后，又于道光年间经监臣李宗昉等奏请，开馆增辑刊印。道光十四年，文庆、李宗昉等完成增辑，共八十二卷，取名《钦定国子监志》。然而，与梁国治版《国子监志》不同，《钦定国子监志》中，并没有将麻勒吉和图尔宸等人称作翻译进士，这一点也许是文庆、李宗昉等编纂者基于历史事实而做出的修正
''The Record of the Imperial Academy'' was edited in the 43th year of Qianlong, then was added edition and published for the petition of Warden Li Zongfang in the reign of Daoguang after it was included in the Si Ku Quan Shu. In the 14th year of Daoguang, the edition of ''The Record of the Imperial Academy'' was finished by Wenqing and Li Zongfang, which had 82 chapters in all and was named ''The Record of Imperial Academy Made by Imperial Order''. However, what was different from ''The Record of the Imperial Academy'' by Laing Guozhi is that Ma Leji and Tu Erchen and others were not called Tien Si of Translation in ''The Record of the Imperial Academy Made By Imperial Order'', which may be the correction made by such editors as Wen Qing and Li Zongfang on the basis of historical facts.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 00:52, 3 November 2021 (UTC)

The Record of the Imperial Academy was edited in the 43th year during the period of Qianlong, then was added edition and published for the petition of Warden Li Zongfang in the Reign of Daoguang after it was included in the Si Ku Quan Shu. In the 14th year during the period of Daoguang, the edition of The Record of the Imperial Academy, which had 82 chapters in all and was named The Record of Imperial Academy Made by Imperial Order, was finished by Wenqing and Li Zongfang. However, what was different from The Record of the Imperial Academy by Laing Guozhi is that Ma Leji and Turchen and others were not called Tien Si of Translation in The Record of the Imperial Academy Made By Imperial Order, which may be the correction made by such editors as Wen Qing and Li Zongfang on the basis of historical facts.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:24, 3 November 2021 (UTC)

==李爱璇 Lǐ Àixuán 英语语言文学（语言学）女 202120081496==

与此同时，该书在乾隆四年翻译进士题名碑之后，也增加“按语”如下，可作为考证麻勒吉、图尔宸等人翻译进士身份的重要线索：翻译乡会试，自雍正元年，定于子、午、卯、酉年二月乡试，辰、戌、丑、未年八月会试。嗣后或举或停，或止准乡试而停会试。

At the same time, after the translation of the inscription of scholars monument in the fourth year during the period of Qianlong, the book also was added following "notes", which can be used as an important clue to verify the identity of translation scholars such as Ma Leji and Turchen: since the first year during the period of Yongzheng, provincial examination of translation has been scheduled in February of Zi, Wu, Mao and You year, and metropolitan examination of translation has been held scheduled in August of Chen, Xu, Chou and Wei year. Hereafter, the examination was either held or cancered, or the provincial examination held and metropolitan examination cancered.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:15, 3 November 2021 (UTC)

At the same time, after the inscription of scholars was translated in the fourth year of the reign Emperor Qianlong, and notes were added to the book, which could be used as important textual researches to identify translation scholars such as Maleji and Tuerchen: since the first year during the reign of Emperor Yongzheng, provincial examination of translation has been scheduled in February of Zi, Wu, Mao and You year, and metropolitan examination has been held scheduled in August of Chen, Xu, Chou and Wei year. After then, the examination was held or canceled from time to time. Sometimes the provincial examination was held, but metropolitan examination was canceled.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 12:49, 3 November 2021 (UTC)

==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学）女 202120081497==

至乾隆四年八月，复举行会试。题名之有碑刻，自是科始。二十二年，仍议停止会试。

By August in the fourth year of the reign of Emperor Qianlong, the provincial examination had been held. Since the beginning of imperial examination, names of successful candidates would be inscribed. However, in the twenty-second year, the court still decided to stop it after discussion.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 10:21, 29 October 2021 (UTC)

By August in the fourth year of Emperor Qianlong's reign, the provincial examination had been resumed. Since the beginning of imperial examination, names of successful candidates would be inscribed on steles. However, in the twenty-second year, once again, the court decided to stop it after discussion.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:37, 6 November 2021 (UTC)

==李姗 Lǐ Shān 英语语言文学（英美文学）女 202120081498==

四十四年，照旧举行，并奏准赐进士出身。停其殿试。又奏准停止建立碑记。

In the 44th year of Emperor Qianlong's reign, the metropolitan examination was resumed. And those who passed the examination were bestowed as Chin-Shih (excellent candidates in the highest imperial examinations). And then the final imperial examination presided over by the emperor was suspended. Later, proposal was approved not to keep inscriptional record.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 02:47, 28 October 2021 (UTC)

In the 44th year of Emperor Qianlong's reign, the metropolitan examination was resumed. And those who passed the examination were bestowed as Chin-Shih (successful candidates in the highest imperial examinations). But the final imperial examination presided over by the emperor was suspended. The emperor gave orders to stop the construcion of inscriptions.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 09:46, 3 November 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

今翻译进士题名，故仅止四碑。详识于此。（文庆、李宗昉等，2000：1106）根上文所载，至少可以明确以下四点：首先，翻译乡会试始于雍正年间。

As a result, there were only four steles that record successful candidates in the highest imperial examinations of translation. (Wen qin, Li Zongfang etc. 2000:1106) According to the previous records, at least the following four points can be made clear: First of all, the translation provincial and metropolitan examinations began in the reign of Yongzheng.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:35, 3 November 2021 (UTC)

As a result, there were only four steles that recorded successful candidates in the highest imperial examinations of translation. (Wen qin, Li Zongfang etc. 2000:1106) According to the previous records, at least the following four points can be made clear: First of all, the translation provincial and metropolitan examinations began in the reign of Emperor Yongzheng.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:09, 4 November 2021 (UTC)

==李文璇 Lǐ Wénxuán 英语语言文学（英美文学）女 202120081500==

雍正朝期间，原定举办四科翻译乡试，即四年（午）、七年（酉）、十年（子）、十三年（卯），四科翻译会试，即二年（辰）、五年（未）、八年（戌）、十一年（丑），但其间时停时举，或仅举办翻译乡试而停办翻译会试，并不规律。其次，乾隆四年八年办理乙未科时，回复办理翻译会试，中式者赐进士出身，有碑刻。再次，乾隆二十二年，停办翻译会试，四十四年恢复，中式者仍赐进士出身。

During the reign of Yongzheng, the government conducted four subjects of translation provincial examination, including 1726, 1729, 1732, 1735, and four subjects of translation metropolitan examination, including 1724, 1727, 1730, 1733. But during this period, some examination had been canceled and some held, or the government only held the provincial examination and canceled the metropolitan examination, which was not order. Next, in 1739 and 1743, it was going to hold the second examination, however, the government decided to hold the translation metropolitan examination, and the winner can get the title of Jinshi, which also had the inscriptions recorded. Then, in 1757, the translation metropolitan examination had been suspended, and recovered in 1779, the winner also can get the title of Jinshi. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:37, 31 October 2021 (UTC)

During the reign of Yongzheng, the government conducted four translation subjects as provincial examination, including 1726, 1729, 1732, 1735, and four translation subjects as metropolitan examination, including 1724, 1727, 1730, 1733. But during this period, some examination had been canceled and some held, or the government only held the provincial examination and canceled the metropolitan examination, which was irregular.Besides, in 1739 and 1743, it was going to hold the second examination, however, the government decided to hold the translation metropolitan examination, and the winner can get the title of Jinshi, which also had the inscriptions recorded. Then, in 1757, the translation metropolitan examination had been suspended, and recovered in 1779, the winner also can get the title of Jinshi.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 09:06, 1 November 2021 (UTC)

==李雯 Lǐ Wén 英语语言文学（英美文学）女 202120081501==

最后，翻译殿试一直处于停办状态。因而，翻译进士题名碑仅有四科，分别是乾隆四年己未科、十年乙丑科、十三年戊辰科，以及十六年辛未科。如果《钦定国子监志》中的上述记载属实，则可知《国子监志》中将麻勒吉、图尔宸等称作翻译进士，并由此认定顺治八年即为翻译科之起始年的观点并不可取。

Finally, the translation test has been suspended. As a result, there are only four in the history of translation test, which are jiwei in the fourth year of qianlong, Yichou in the tenth year, Wuchen in the thirteenth year, and Xinwei in the sixteenth year. If the records in The Imperial Records are true, it can be seen that maleji and Tulchen were called talents of translation in the Imperial Records, and the views in the eighth year of Shunzhi( the beginning year of translation )is not desirable.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 09:02, 1 November 2021 (UTC)

Finally, the translation temple has been suspended. As a result, there are only four branches on the translated Jinshi inscription tablets, which are jiwei in the fourth year of qianlong, Yichou in the tenth year, Wuchen in the thirteenth year, and Xinwei in the sixteenth year. If the above records in The Imperial Imperial Records are true, it can be seen that maleji and Tulchen were called jinshi of translation in the Imperial Imperial Records, and the view that the eighth year of Shunzhi was the beginning year of translation is not desirable.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:21, 3 November 2021 (UTC)

==李新星 Lǐ Xīnxīng 亚非语言文学女 202120081503==

事实上，《国子监志》不仅误记了顺治九年、十二年两榜进士（满洲、蒙古）题名碑，而且在乾隆年间的两科翻译进士题名碑问题上，也发生了讹错与遗漏。具体而言便是，《国子监志》中仅记载了两碑乾隆年间的翻译进士，分别是乾隆十三年的戊辰科和十六年的辛未科，颁赐对象分别是武进、武立等四十二人。至于乾隆四年己未科和十年乙丑科，其中未见有记录，此事令《国子监志》的可信度受损。（梁国治，1986：530）
As a matter of fact, in the Annals of the Imperial College, there are not only errors in the inscription tablets of the ninth and twelfth year of Shunzhi, but also errors and omissions in the translation of the inscription tablets of the jinshi in the qianlong period. Specifically, in the Annals of imperial College, there are only two steles of translated Jinshi during the Reign of Emperor Qianlong, namely wuchenke in the thirteenth year of Emperor Qianlong and Xinweike in the sixteenth year of Emperor Qianlong, which were awarded to 42 people, including Wu Jin and Wu Li. As for the jiwei section in the fourth year and yichou Section in the tenth year of the Reign of Emperor Qianlong, there were no records, which damaged the credibility of the Annals of the Imperial Academy. (Liang Guozhi, 1986:530)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:19, 3 November 2021 (UTC)

In fact, in the ''Annals of the Imperial College'',it misremembered two-listed inscribed (Manchuria, Mongolia) scholars in Shunji nine years and twelve years , but also in Qianlong years, it had also mistakes and omissions in the two sections of translation scholars inscription tablet problem. Specifically, the ''Annals of the Imperial College'' only records the two monuments Qianlong years of translation, respectively, Qianlong 13 years of Thechenke and 16 years of Xin Weike, awarded to the object of Wujin, Wu Li and other forty-two people. As for Qianlong's four-year absence and ten-year B-Ugly Section, which has not been recorded, the credibility of the ''Annals of the Imperial College'' has been undermined. (Liang Guozhi, 1986:530)--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:46, 3 November 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

结语：翻译科的创设始于雍正年间，而非顺治年间，这一点毋庸置疑。顺治时期，八旗科举考试中虽然已有了翻译考试的内容，但此时的翻译考试并非独立建制，而是隶属于八旗文科举，为后者考试中的一个环节，或者说为其考试内容的一个部分。
Conclusion: There is no doubt that the establishment of translation department began in the Qing Yongzheng, not in the Qing Shunzhi. During the Shunzhi period, there was a content of translation examination in the eight Banners imperial examination, but the translation examination was not an independent institution, but a part of the eight banners liberal arts examination, or a part of the examination content.

Conclusion: There is no doubt that the establishment of translation subject began in the reign of Yongzheng rather than Shunzhi. During the Shunzhi period, although there was translation exercises in examination in the eight Banners imperial examination, it was not an independent subject but a part of the eight banners liberal arts examination, or a part of the examination content.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 01:32, 30 October 2021 (UTC)

==刘沛婷 Liú Pèitíng 英语语言文学（英美文学）女 202120081505==

雍正年间，世宗为了整饬八旗“废弛陋习”，奖励清语学习，因而创制翻译科，将其视作方法与工具，鼓舞八旗满洲与蒙古奋勉向学，以图进取。翻译科的创设带有明确、强烈的政治、文化意涵，是为了维护“国语骑射”的满洲根本，以及满族文化特征。这么做，一方面是为了维护满洲祖制，避免满族固有文化被汉族同化；另一方面则是想通过传承自身文化，实现全国政权的长远统治。

During the reign of Emperor Yongzheng, emperor Shizong established the subject of Translation as a means and tool to encourage the Eight Banners in Manchuria and Mongolia to learn Chinese and make progress with the hope to rectify the "bad habits" of the eight banners and reward Chinese learning. The establishment of the Translation subject has clear and strong political and cultural implications, that is, to maintain the manchu roots of "mandarin horsemanship" and the characteristics of Manchu culture. This act, on the one hand, is to maintain the manchu ancestor system and avoid the inherent culture of Manchu being assimilated by the ethnic Han. On the other hand, it aims to realize the long-term rule of the national regime through inheriting their own culture.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 01:09, 30 October 2021 (UTC)

During the reign of Emperor Yongzheng, the Emperor established the subject of translation in order to rectify outmoded conventions and reward Chinese learning. It was regarded as a means and tool to encourage the Eight Banners in Manchuria and Mongolia to learn Chinese in an effort to forge ahead. The establishment of the translation subject had clear and strong political and cultural implications, that is, to maintain the manchu roots of "National language and ride" and the characteristics of Manchu culture. On the one hand, this practice was to maintain the manchu ancestor system and avoid the inherent culture of Manchu being assimilated by the ethnic Han. On the other hand, it aimed to realize the long-term rule of the national regime through inheriting their own culture.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:28, 3 November 2021 (UTC)

==刘胜楠 Liú Shèngnán 翻译学女 202120081506==

毫无疑问，作为清代八旗科举制度的重要成分，翻译科的创设自有其积极意义，它不仅使旗人获得了进身机会，缓解了八旗生计的困难，而且也为朝廷遴选了大量翻译专才，促进了国家治理。然而，翻译科自身也有缺陷与不足，这一点主要体现在“首崇满洲”的基本原则上，它是维护满洲特权与旗人利益的集中体现，对于我们研究清代的政治、文化发展与变化，以及有清一代的民族关系与民族政策等，都具有重要的学术价值与社会意义。

There was no doubt that as an important component of the imperial examination system of the Eight Banners in Qing Dynasty, the establishment of the translation department had its own positive significance. It not only provided opportunities for the people of the Eight Banners and alleviated the difficulties of making a living, but also selected a large number of translation professionals for the imperial court and promoted national governance. However, the translation department also had its own defects and deficiencies, which was mainly reflected in the basic principle of "first advocating Manchuria". It was a concentrated embodiment of safeguarding Manchuria's privileges and Eight Banners people's interests. It had important academic value and social significance for us to study the political and cultural development and changes of Qing Dynasty, as well as the ethnic relations and ethnic policies of Qing Dynasty.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 13:52, 30 October 2021 (UTC)

There is no doubt that as an important component of the imperial examination system of the Eight Banners in the Qing Dynasty, the creation of the translation subject has its own positive significance. It not only provided promotion opportunities for the people of the Eight banners and alleviated the difficulty of making a living, but also selected a large number of translation professionals for the imperial court and promoted national managemant. However, the translation subject also has its own defects and deficiencies, which is mainly reflected in the basic principle of “first advocate Manchuria”. It is a concentrated embodiment of safeguarding Manchuria's privileges and the Eight Banners people's interests.Which has important academic value and social significance for us to study the political and cultural development and changes of the Qing Dynasty, as well as the ethnic relations and ethnic policies of the Qing Dynasty. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:11, 30 October 2021 (UTC)Liu Wei

==刘薇 Liú Wēi 国别女 202120081507==

《金瓶梅》满文翻译考释

摘要：淫词小说的禁毁系清代长期的文化政策。然而，社会历史阶段不同，政府对该政策的推进与执行也不尽同。

A textual criticism research on the Manchu translation of ''The Golden Lotus''
Abstract: The prohibition and damage of pornographic novels was due to the long-term cultural policies of the Qing Dynasty. However, on account of different social and historical periods, the government's promotion and implementation of this policy are also different. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 02:59, 30 October 2021 (UTC)Liu Wei

A Textual Criticism Research on the Manchu Translation of ''The Golden Lotus''
Abstract: Banning and destroying pornographic novels was a long-term cultural policy in the Qing Dynasty. However, the government's promotion and implementation of this policy were quite different in different social and historical periods.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 07:49, 30 October 2021 (UTC)

==刘晓 Liú Xiǎo 英语语言文学（英美文学）女 202120081508==

清初，统治者的政策重心在于武力征伐与国家统一，文禁的重点在于政治倾向显著的作品。因而，为了笼络人心，政府对汉族小说及其翻译的偏见并不显著，对《金瓶梅》等淫词类小说的禁毁与惩处也影响较小。康熙中期以后，政府强化了思想控制，加强了小说翻译与小说创作的管制，《金瓶梅》的审查亦在其中。

In the early Qing Dynasty, the policies enacted by the emperor focused on military expeditions and national unification, that of literary persecution focusing on works with prominent political tendencies. Therefore, in order to win people's support, the government's prejudice against Chinese novels and their translation was not significant, and little influence had been brought by the prohibition and punishment of erotic novels such as the '' Golden Lotus''. After the middle period of emperor Kangxi's reign, the government strengthened the control of thought, as well as the control of novel translation and novel creation, including the review of the ''Golden Lotus''.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:17, 28 October 2021 (UTC)

In the early Qing Dynasty, the rulers' policy focused on military expedition and national unity, and the cultural prohibition focused on works with significant political tendency. Therefore, in order to win the hearts of the people, the government's prejudice against Chinese novels and their translation was not significant, and little influence had been brought by the prohibition and punishment of erotic novels such as the '' Golden Lotus''. . After the middle period of Kangxi, the government strengthened the ideological control, as well as the control of novel translation and novel creation, including the review of the ''Golden Lotus''.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:42, 30 October 2021 (UTC)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

《金瓶梅》的翻译有别于“四书”、“五经”，它既不能塑造道德，又不能规范秩序，其翻译与刊刻遭到限制在所难免。然而，《金瓶梅》译本最终得以成书，与统治者的支持或默认不无关联。

关键词：《金瓶梅》；满文翻译；和素；文化政策；审查

The translation of Golden Lotus is different from the "Four Books" and "Five Classics". It can neither shape morality nor regulate order. It is inevitable that its translation and publication will be restricted. However, it is related to the support or acquiescence of the rulers that the translation of Golden Lotus was finally completed.
Key words: Golden Lotus; Manchu translation; He Su; Cultural policy; examination--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:35, 30 October 2021 (UTC)

The translation of Golden Lotus was different from The Four Books and Five Classics. It could neither contribute in instilling morals nor keeping order, and thus the restriction on its translation and publication were inevitable. However, the completion of the translation of Golden Lotus is related to the support or acquiescence of the rulers.

Keywords: Golden Lotus; Manchu translation; He Su; cultural policy; censorship--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:40, 7 November 2021 (UTC)

==刘运心 Liú Yùnxīn 英语语言文学（英美文学）女 202120081510==

清代的官方文献中，并未明确出现“文化政策”字样，而是代之以“文教”、“教化”等概念，但这并不能说明清代的文化建设缺乏既定的政策理念与行为准则。恰恰相反，自顺治十年起，清廷即制订了“崇儒重道”的文化政策，将中国传统的文化概念融入政治实践，并在嗣后各朝逐渐形成“兴文教”、“崇经术”的治国方针。如康熙九年提出的“圣训十六条”、乾隆年间修纂的《四库全书》等，都是“崇儒重道”的重要实践。

In the official documents, the exact term “cultural policy” did not appear, instead, the terms of “culture and education” and “moral teaching” were used. This finding did not mean that the cultural development of Qing dynasty lacked of established policy ideas or code of conduct. On the contrary, since the tenth year of the reign of Shunzhi, the cultural policy of “advocating Confucianism and adhering to Confucian doctrine” which incorporated the traditional Chinese cultural concepts into political practices has been established by Qing government. Later on, the ruling principle of “promoting the development of culture and education” and “advocating Confucianism” gradually came into being under the administrations of the following emperors. For instance, The Sixteen Rules by the Emperor issued in the ninth year of Kangxi's reign and The Siku Quanshu edited in Qianlong's age were all important practices of “advocating Confucianism and adhering to Confucian doctrine”.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 05:07, 2 November 2021 (UTC)

The words "cultural policy" did not explicitly appear in official documents of the Qing dynasty, but were replaced by concepts such as "culture and education' and 'moral teaching". This does not mean that there was a lack of established policy concepts and codes of conduct in cultural construction. On the contrary, since the tenth year of the reign of Shunzhi, the Qing court formulated a cultural policy of "advocating Confucianism and adhering to Confucian doctrine", incorporating traditional Chinese cultural concepts into political practice, and gradually forming the policy of 'promoting culture and education' and 'revering scripture and art' in subsequent dynasties. For instance, in the ninth year of the Kangxi reign，"The Sixteen Rules by the Emperor“ and the compilation of the ''Siku Quanshu'' during the Qianlong reign were all important practice of "advocating Confucianism and adhering to Confucian doctrine". --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 10:45, 5 November 2021 (UTC)

==罗安怡 Luó Ānyí 英语语言文学（英美文学）女 202120081511==

在文化政策的范畴中，“崇儒重道”有其衍生物，如科举取士、博学鸿词等，而访求、编纂书籍，以及翻译汉文典籍等也是其重要内容。清代的汉籍（书）翻译既面对“四书”、“五经”等儒学典籍，也面对《金瓶梅》、《西厢记》等通俗作品。清代的汉籍（书）翻译系清代政治、文化事业的重要组成部分。

In the realm of cultural policy, the principle of “Reverence to Confucianism” had its derivatives, for instance, the imperial examination and the Boxue hongci section. The collection and compilation of books, as well as the translation of Chinese classics, were also important parts of cultural policies. The translation of Han books in the Qing dynasty dealt with both Confucian texts, such as ''the Four Books'' and ''the Five Classics'', and popular works, such as ''The Golden Lotus'' and ''The Western Chamber''. Thus the translation of Han books was an important part of the political and cultural undertakings of the Qing dynasty. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 10:47, 5 November 2021 (UTC)

In the field of cultural policies，there are some things derived from the principle of “Reverence to Confucianism”，like imperial examination ， the Boxue hongci section and so on，while the collection and compilation of books, as well as the translation of Chinese classics, were also important parts of cultural policies. The translation of Han books in the Qing dynasty not only include the Confucian texts，such as ''the Four Books'' and ''the Five Classics''，but also involve those secular works such as 'The Golden Lotus'' and ''The Western Chamber'' and so on.The translation of the Han books in Qing dynasty is an important part to consist the political and cultural undertakings of Qing dynasty.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 09:08, 10 November 2021 (UTC)

==罗曦 Luó Xī 英语语言文学（英美文学）女 202120081512==

从背景上看，汉籍（书）的翻译一方面得益于统治者反复提倡“国语骑射”的基本国策，以维护满洲根本于不坠，另一方面则得益于文化整合的需要，即，统治者通过翻译学习汉族文化，汲取汉人的治国理政经验，建构政权稳定和国家长治久安所需的“治统”与“道统”。通过引导与规范汉籍（书）的翻译，统治者不仅使满、汉文化互通有无，阐明法度，维护正统，端正满洲的人心风俗，而且以译书作为临政规范，撷取帝王为政之道，完善国家治理理念与模式。
From the perspective of its background，the translation of the books of Han dynasty，from the one hand，was benefited from the basic recurrent national policy of “National language and ride” to prevent Manchu from falling，from the other hand，it was benefited from the necessity of culture unification，that is to say，the ruler learns Han’s culture，absorbs Han’s ruling experience and build the “ruling rule” and “moral rule” in need for the stabilization of the policy and safety from translation.Through leading and controlling the translation of Han books，the ruler not only connects Man and Han ’s culture，protects the royalty，corrects the customs of Man，but also perfects the national ruling modes by learning the ruling methods of the ruler under the control of translation.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 12:22, 9 November 2021 (UTC)

==马新 Mǎ Xīn 外国语言学及应用语言学女 202120081513==

藉由汉籍（书）的翻译，统治者既能成功了解汉族文化，又能以思想为治术，建构政权的合法性，实现满洲政权向中原政权的历史转化，并在接触和学习汉文化中获得“统制”汉民的重要经验，实现“治统”与“道统”的和谐统一，最大限度地保障统治集团的既得利益。一、《金瓶梅》的创作题材与历史地位。中国古典小说中，有“四大奇书”之称。

Through translating the classical books from Han people, the ruler of Qing government could not only understand their culture successfully, but also validate the legitimacy of Manchu regime via the thoughts of governance arts in order to realize the historical transformation from Manchu regime into the Central Plains regimes, gain important experience to "rule" Han people in the process of contacting and learning from their culture, achieve the harmonious uniformity between "Zhi Tong" (rule the country by traced to the same origin) and "Dao Tong" (rule the country by Confucianism) as well as safeguard the vested interest in Manchu ruling clique to the greatest extent. 1. the creative theme and historical status of ''The Golden Lotus''. In Chinese classical novels, it was known as "the Four Marvelous Books".

Through the translation of the classical books in Han (the Central Plains) language, the rulers in Qing Dynasty could not only gain deep insight into their culture, but also validate the legitimacy of the Manchu regime via taking advantage of thoughts to govern the country, so as to realize the historical transition from Manchu regime to the Central Plains regime, to obtain important experience of "ruling" Han (Central Plains) people, to achieve the harmonious unity of "Zhi Tong" (to rule the country by tough measures) and "Dao Tong" (to govern the country by ethics and Confucianism), as well as to proetct the vested interest of ruling regime to the highest degree. 1. The Creative Themes and Historical Status of ''The Golden Lotus''. In Chinese classical novels, there are the so-called "Four Marvelous Books".--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 14:59, 2 November 2021 (UTC)

==毛雅文 Máo Yǎwén 英语语言文学（英美文学）女 202120081514==

所谓“四大奇书”，按照李渔、周永保等人的说法，是指《金瓶梅》、《三国演义》、《水浒传》、《西游记》等四部明代小说作品，这些作品皆成书于明代年间，代表的是中国古典小说的四种不同形态，即历史类、传奇类、神魔类，以及世情类。作为“四大奇书”之首，《金瓶梅》究竟成书于何时，学界尚有不同说法。有人认为是明代嘉靖年间，如屠本畯的《山林经济籍》，也有人认为是万历年间，如郑振铎的《谈金瓶梅词话》、车锡伦的《<金瓶梅词话>中的宣卷》，以及黄霖的《<金瓶梅>漫话》等。

According to scholars like Li Yu and Zhou Yongbao, the so-called "Four Marvelous Books" refer to the four novels in Ming Dynasty, including ''The Golden Lotus'', ''The Romance of the Three Kingdoms'', ''Outlaws of the Marsh'', and ''Journey to the West''. These works were finished in Ming Dynasty and represent the four different forms of Chinese classical novels, namely, the historical, the legendary, the supernatural evil-spirit, and the realistic (or human-feelings). However, there are still various views in the academic circle on the completing time of ''The Golden Lotus'' which has been considered as the first of the "Four Marvelous Books". Some think that it was written in Ming Dynasty under the reign of Emperor Jiajing when Tu Benjun's ''Guide to Live in Seclusion'', for example, was also finished; while others believe that it was the period during the reign of Emperor Wanli that witnessed the completion of ''The Golden Lotus'', with the subsequent advent of ''Notes and Comments on The Golden Lotus'' created by Zheng Zhenduo, ''Xuan Juan (Precious Scroll for Propaganda) in Notes and Comments on The Golden Lotus'' by Che Xilun, as well as ''Informal Discussion on The Golden Lotus'' by Huang Lin, and etc. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:58, 31 October 2021 (UTC)

According to scholars like Li Yu and Zhou Yongbao, the so-called "Four Marvelous Books" refer to the four novels in Ming Dynasty, including ''The Golden Lotus'', ''The Romance of the Three Kingdoms'', ''Outlaws of the Marsh'', and ''Journey to the West''. These works were finished in Ming Dynasty and represented the four different forms of Chinese classical novels, namely, the historical, the legendary, the supernatural evil-spirit, and the realistic (or human-feelings). However, there are still various views in the academic circle on the completing time of ''The Golden Lotus'' which has been considered as the first of the "Four Marvelous Books". Some think that it was written in Ming Dynasty under the reign of Emperor Jiajing when Tu Benjun's ''Guide to Live in Seclusion'', for example, was also finished; while others believe that it was the period during the reign of Emperor Wanli that witnessed the completion of ''The Golden Lotus'', with the subsequent advent of ''Notes and Comments on The Golden Lotus'' created by Zheng Zhenduo, ''Xuan Juan (Precious Scroll for Propaganda) in Notes and Comments on The Golden Lotus'' by Che Xilun, as well as ''Informal Discussion on The Golden Lotus'' by Huang Lin, and etc.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 15:50, 2 November 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

无论是何种观点，都不可否认《金瓶梅》在中国古典小说中的历史地位。《金瓶梅》无疑是中国古典小说发展史上的经典之作，不仅在创作题材上突破了传统模式，将叙述的焦点从豪杰和妖魔转移至市井人物，人物塑造上也出现了从单色调向多色调、平面化向立体化的转变。同时，创作主旨上也有重要突破，即不再专注于歌颂理想，而是通过写尽世情之恶、生活之丑，暴露社会的黑暗与不公，现实主义特征极其明显。
Whatever the viewpoint, there is no denying the historical status of The Golden Lotus in classical Chinese fiction. The Golden Lotus is undoubtedly a classic in the history of classical Chinese fiction, not only in terms of its subject matter, which broke away from the traditional model, shifting the focus of the narrative from the heroes and demons to the characters in the marketplace, but also in terms of characterization, which changed from monochromatic to multi-colored and from flat to three-dimensional. At the same time, there is also an important breakthrough in the creative theme, that is, it no longer focuses on glorifying ideals, but exposes the darkness and injustice of society by writing about the evils of the world and the ugliness of life, and the characteristics of realism are extremely obvious.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 15:46, 2 November 2021 (UTC)

From every viewpoint, in classical Chinese fictions, the historical status of The Golden Lotus is apodeictic, not only in terms of its subject matter, which broke the traditional model, shifting the focus of the narrative from the heroes and demons to the common people, but also in terms of characterization, which changed from monochromatic to multi-colored and from flat to three-dimensional. At the same time, there is also an important breakthrough on the theme, namely, that it no longer focused on glorifying ideals, but exposed the darkness and injustice of society by writing about the evils of the world and the ugliness of life, through which the characteristics of realism are extremely obvious. --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:32, 3 November 2021 (UTC)

==牟一心 Móu Yīxīn 英语语言文学（英美文学）女 202120081516==

刘廷玑认为，《金瓶梅》之所以称为奇书，是因为它深切人情要务。鲁迅在对“世情小说”进行界定时，曾指出《金瓶梅》描摹世态，见其炎凉，骂尽诸色，它虽然描写情色，却是要“以淫说法”，虽然结构铺张，但却是“引迷入悟”，既然是描写世情，便要“尽其情伪”，所谓刻露而尽相，或幽伏或含讥，诚极洞达而已。《金瓶梅》所描写的虽然是市井常谈、闺房碎语，但它寄意于时俗，极富感染力。

Liu Tingji believes that the reason The Golden Lotus is called a fantastic book is that it is deeply mundane. When Lu Xun defined the “worldly novel”, he pointed out that The Golden Lotus described worldly affairs, manifesting elusiveness of people and cursing all kinds of ugliness. Although it described eroticism, it was meant to “speak out as lewdness”. Although the structure is extravagant, it is “leading confusion into realization”. Since it is a description of the worldly affairs, it must be “full of sentiment and hypocrisy”. It is said that boldness results in completeness, which is sincere and insightful whether in a humorous or sarcastic way. Although The Golden Lotus is all about the commonplaces in the markets and boudoirs, it is greatly contagious because of its connotations behind the times and customs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 12:54, 30 October 2021 (UTC)

Liu Tingji believes that the reason ''The Golden Lotus'' is called a fantastic book is its profound insight into the human condition. When Lu Xun defined the “secular novel”, he pointed out that ''The Golden Lotus'' described secular affairs, with a revelation of the indifference of people and an accusation of the eroticism. Although it describes erotic scenes, it is meant to “making sense with lust”. Although the structure is extravagant, it “leads confusion into realization”. Since descriptions in the book relate to secular affairs, they must be “full of sentiment and hypocrisy”, which means uncovering the essence and revealing its full complexity, with either insinuation or innuendo, just for achieving a precise communication of insights. Even though ''The Golden Lotus'' is all about the commonplaces in the markets and boudoirs, it is greatly contagious because of its connotations behind the times and customs.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 16:14, 2 November 2021 (UTC)

==彭瑞雪 Péng Ruìxuě 法语语言文学女 202120081517==

明、清之际，虽然《金瓶梅》向被列为禁书，但时人对其的艺术手法和思想内容等，却评价甚高，甚至不乏将其与《左传》、《史记》、《汉书》等并列者，认为这些作品都是“以其文皆为写生者也”的杰出代表。明代博物学家谢肇淛（zhè）曾向人借抄《金瓶梅》，并为此书撰写序跋，其中详细论及此书所具有的广泛的揭示性，认为它描写的是一个丑陋、黑暗的世情社会，既有“市里之猥谈”，又有“狎客之从臾逢迎”，所谓“穷极境象，駴（hài）意快心。”无论如何，都不能将《金瓶梅》视作“秽书”，而枉顾其对于炎凉情态的纤毫毕现，既看不到它的一腔愤懑，又看不到它的刺世与劝戒之意。

During the Ming and Qing dynasties, although ''the Golden Lotus'' was always banned, its artistic approach and ideological content were highly regarded by the people of the time, and there was even no shortage of people who ranked it alongside ''the Zuo Tradition'', ''the Records of the Grand Historian'' and ''the Book of Han'', considering these works to be outstanding representatives of "those whose texts are all written for the purpose of writing life". Xie Zhaozhe, a Ming dynasty naturalist, once borrowed ''The Golden Lotus'' from others and copied it. He wrote a preface to the book, in which he discussed in detail the book's broad scope of revelation, arguing that it depicted an ugly, dark society, with both "the obscene words of marketplace villains" and "the flattery of treacherous people". It is a 'straightforward and unadorned account of all life'. In any case, ''the Golden Lotus'' should not be regarded as an 'obscene book', and its subtle expression of the inconstancy of human relationships should not be taken in vain, nor its indignation, nor its stinging and admonishing intentions.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 02:46, 30 October 2021 (UTC)

During the Ming and Qing dynasties, although ''The Plum in the Golden Vase'' was always banned, its artistic approaches and ideological contents were highly regarded by the people of that time, and there was even no shortage of people who ranked it alongside ''the Zuo Tradition'', ''the Records of the Grand Historian'' and ''the Book of Han'', considering these works to be outstanding representatives of "those whose texts were all written for the purpose of writer’s life". Xie Zhaozhe, a Ming dynasty naturalist, once borrowed ''The Plum in the Golden Vase'' from others and transcribed it. He also wrote a preface for this book, in which he discussed in detail the book's broad scope of revelation, arguing that it depicted an ugly, dark society, with both "the obscene words of marketplace villains" and "the flattery of treacherous people". It was a 'straightforward and unadorned account of all life'. In any case, ''The Plum in the Golden Vase'' should not be viewed as an 'obscene book', its subtle expression of the inconstancy of human relationships should not be taken in vain, nor its indignation, nor its stinging and admonishing intentions.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:56, 30 October 2021 (UTC)

==秦建安 Qín Jiànān 外国语言学及应用语言学女 202120081518==

有人说，《金瓶梅》是《红楼梦》之祖，其题材主旨、人物刻画、情节结构等均为后者所继承，它虽然以家庭为中心，却又与天下、国家紧密相连，虽然恣意描写原始欲望，却又同时拷问人性的本质，其作为白话世情小说之首，可谓实至名归。一代伟人毛泽东也说，《金瓶梅》是《红楼梦》的祖宗，没有前者，就写不出后者，充分肯定了《金瓶梅》在中国古典文学中的历史地位。《金瓶梅》具有劝戒意涵，而不是或者不仅仅是淫词小说，这一点对于清代文士而言，亦是人所共知之事。

It is said that ''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions'', because the latter inherited all from the first in the perspective of selecting materials, themes, characterization and plot structure. Although ''The Plum in the Golden Vase'' was centralized on family, it also nearly attached to the world and country. Ranking on top of vernacular love novels, this book was haphazardly described with original desire but it also put questions on the essence of the nature of human beings which lived up to its name. Mao Zedong, a great man of a generation, also said, “''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions''. Without the former, the latter couldn’t be written.”which fully affirmed its historical position in Chinese classical literature. ''The Plum in the Golden Vase'' ,not or not just a pornographic novel, was replete with exhortation meaning which was known by all common people from the perspective of literati of Qing dynasty.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:12, 28 October 2021 (UTC)

It is said that ''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions'', because the latter inherited all from the first in the perspective of selecting materials, themes, characterization and plot structure. Although ''The Plum in the Golden Vase'' was centralized on family, it also nearly attached to the world and country. Ranking on top of vernacular love novels, this book was haphazardly described with original desire but it also put questions on the essence of human nature which lived up to its name. Mao Zedong, a great man of a generation, also said, “ ''The Plum in the Golden Vase'' is the ancestor of ''A Dream in Red Mansions''. Without the former, the latter couldn’t be written.”which fully affirmed its historical position in Chinese classical literature. ''The Plum in the Golden Vase'' full of persuation meaning was not or not just a pornographic novelwas which was known by all the literati of Qing dynasty.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:55, 30 October 2021 (UTC)

==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==

如欣欣子在《金瓶梅词话序》中所说，《金瓶梅》一书不同于《三国演义》，它不是从正面塑造人物形象，使其合乎传统人伦道德，实现教化目的，而是通过对酒色财气的重墨渲染，警戒世人远离情色，其目的同样在于“明人伦，戒淫奔，分淑慝（tè），化善恶”，这一点与《三国演义》殊途而同归。而在《金瓶梅·序》中，作者亦明确指出该书的“劝戒”之意，所谓“一回一戒”，因而“百回中以为百劝”。

As Xin Xinzi said in the series of notes and comments of ''The Plum in the Golden Vase'', this novel was different from the ''The Romance of the Three Kingdoms'', it was not from the positive view to shape the character image, so that it would conform to the traditional ethics and morality, and then achieved the goal of indoctrination. But through the heavy playing up of wine , women , avarice and pride to warn human beings away from eroticism, its purpose was also “correcting human relations, dropping elopement, distinguishing the good and evil”, which reached the same goal by different ways as ''The Romance of the Three Kingdoms''. While in the series of ''The Plum in the Golden Vase'', the author also clearly pointed out the book’s “persuasion” meaning, the so-called “one chapter once again exhorting”，and therefore “one hundred times in the hundreds of persuasion.”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:51, 30 October 2021 (UTC)

As Xin Xinzi mentioned in the series of notes and comments of ''The Plum in the Golden Vase'', this novel was different from the ''The Romance of the Three Kingdoms'', it did not shape the character image from the positive view, so that it would conform to the traditional ethics and morality, and then achieve the goal of indoctrination, but warn human beings away from eroticism through the heavy playing up of wine , women , avarice and pride, its purpose was also “correcting human relations, dropping elopement, distinguishing the good and evil”, which reached the same goal by different ways as ''The Romance of the Three Kingdoms''. While in the series of ''The Plum in the Golden Vase'', the author also clearly pointed out the book’s “persuasion” meaning, the so-called “one chapter once again exhorting”，and therefore “one hundred times in the hundreds of persuasion.”--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:12, 30 October 2021 (UTC)

==饶金盈 Ráo Jīnyíng 英语语言文学（语言学）女 202120081520==

清人中，对于《金瓶梅》进行诋毁、谩骂者，亦有之。如蒲松龄称其为“淫史”，邹弢称其为“淫书”，邱炜萲（xuān）则认为其“淫媟（xiè）荡志”，无论在内容上，还是在文笔上，都不足以“负此重名”。《蕉轩随录》中，方浚师甚至将《金瓶梅》和《水浒传》看作无用之书，认为二者之中一个倡盗，一个诲淫，有害于世道人心。

In the Qing Dynasty, there were also people who slandered and criticized ''Gold Vase Plum''. For instance, Pu Songling regarded it as a ''History of obscenity'', Zou Tao thought it a pornographic book, and Qiu Weixuan held that it is full of debauchery which indicate that it is not worth bearing such a great reputation no matter in content or style of writing. In ''Records of Jiaoxuan'', Fang Junshi even regarded ''Gold Vase Plum'' and ''Water Margin''as useless books, and the former is story of furious robbers while the latter is a story inciting pornography, so both of them would do harm to the people in the world.

In the Qing Dynasty, there were also people who slandered and criticized “Gold Vase Plum”. For instance, Pu Songling regarded it as “History of Obscenity “, Zou Tao thought it a pornographic book, and Qiu Weixuan held that it was full of debauchery. “Gold Vase Plum” was not worthy of bearing such a great stigma either in content or in style. In “Records of Jiao Xuan”, Fang Junshi even regarded “Gold Vase Plum” and “Water Margin” as useless books, one of which was about stories of advocating the theft while the other of which was related to plots inciting pornography, so both of them would do harm for enlightening the people in the world. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:47, 28 October 2021 (UTC)

==石丽青 Shí Lìqīng 英语语言文学（英美文学）女 202120081521==

而晴川居士、申涵光、李绿园等亦持论相似，认为《金瓶梅》丧心败德，它对于幼学者的影响如同疫病，其害甚大。沈德符、徐谦、林昌彝等更是主张禁毁此书，认为此书有如毒草和毒酒，贻害无穷。清初以来，朝廷对于淫词小说的禁毁从未间断。

And Qingchuan Lay Buddhist, Shen Hanguang, Li Luyuan, etc. held similar viewpoints, believing that “Gold Vase Plum”, infecting people’s pure soul and moral integrity, played an ill impact on young scholars. Shen Defu, Xu Qian, Lin Changyi, etc. even advocated banning and destroying this book, holding that it was parallel with poisonous weeds and wine which would cause endless harm.Since the early Qing Dynasty, the imperial court had never stopped the prohibition and destruction of obscene novels. --[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 08:08, 28 October 2021 (UTC)

And Qingchuan Lay Buddhist, Shen Hanguang, Li Luyuan, etc. held the similar viewpoints that ''Gold Vase Plum'' infected people’s pure soul and moral integrity and played an ill impact on young scholars,which is very harmful. Shen Defu, Xu Qian, Lin Changyi, etc. even advocated banning and destroying this book, holding that it was parallel with poisonous weeds and wine which would cause endless harm.Since the early Qing Dynasty, the imperial court had never stopped the prohibition and destruction of obscene novels.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:49, 2 November 2021 (UTC)

==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学女 202120081522==

仅顺治至嘉庆年间，禁毁次数便超过十次，其中顺治朝一次（顺治九年）、康熙朝六次（康熙二年、二十六年、四十年、四十八年两次、五十三年）、雍正朝一次（雍正二年）、乾隆朝一次（乾隆三年），以及嘉庆朝二次（嘉庆十五年、十八年）等。康熙年间，清廷关于淫词小说的禁毁极其严格，既有法令可依，又有专门管理，惩处明确。如康熙二年议准，规定嗣后若有翻刻琐语淫词，有伤风化者，由科道、督抚查明实情，交部议处。

The obsecene novels had been destroyed for more than ten times just from the Shunzhi Dynasty to the Jiaqing Dynasty.Among them,there was one time in the Shunzhi Dynasty (the 9th year of Shunzhi) , six times in Kangxi Dynasty (the 2nd, 26th,40th,48th and 53rd year of Kangxi),one time in Yongzheng Dynasty(the 2nd year of Yongzheng),one time in Qianlong Dynasty(the 3rd year of Qianlong) and two times in Jiaqing Dynasty(the 15th,18th year of Jiaqing)，ect.During the Kangxi Dynasty,the goveronment was very strict with the prohibition and destruction of obscene novels,which was based on the decrees and was managed specially,and the published was clear.For example,there was an announcement in the 2nd year of Kangxi,which claimed that if there was someone who translated or carved the gossips and obscene words which was destructive to the morals,it would be examined by the department and governor and be submitted to the ministry.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:43, 2 November 2021 (UTC)

The obsecene novels have been destroyed and banned for more than ten times just from Shunzhi to Jiaqing years. Among them, there was one time in Shunzhi Dynasty(the 9th year) , six times in Kangxi Dynasty (one time in the 2nd, 26th, 40th and 53rd year, two times in the 48th year), one time in Yongzheng Dynasty(the 2nd year), one time in Qianlong Dynasty(the 3rd year) and two times in Jiaqing Dynasty(the 15th,18th year), etc. During the reign of Kangxi, the goveronment was very strict with the prohibition and destruction of obscene novels, with both laws to follow and special management, as well as the clear punishment. For example, there was an announcement in the 2nd year of Kangxi, which claimed that if someone translated or carved the gossips and obscene words which was harmful to morals, the case would be examined by the supervising officials and governors, then submitted to the ministry. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:03, 2 November 2021 (UTC)

==王李菲 Wáng Lǐfēi 英语语言文学（英美文学）女 202120081523==

乾隆三年，吏部议定“文禁”条例，对于坊间内小说淫辞，也一并严行禁绝，并根据买卖双方是否具有官方身份给予不同处罚。与此同时，《买看例》、《市卖例》、《禁止邪教不能察辑例》等法令的通过，也给淫词小说的翻刻与兜售等，提供了治罪依据。而以江苏、浙江为代表的地方官府，也相继出台法令，对淫词小说的编次、刊刻、贩卖等一并加以规定，照例治罪。

In the third year of Emperor Qianlong’s reign, Board of Civil Office agreed on the regulation of “prohibition of literature”, and strictly forbade the obscene fictions in the street, giving different punishments according to whether the buyers and sellers had official identities. At the same time, the passage of decrees such as ''Rules of Buying and Reading'', ''Rules of Selling'' and ''Rule of Banning Cults from Collecting'' also provided a criminal basis for the reproduction and peddling of obscene novels. Local governments represented by Jiangsu and Zhejiang also issued decrees one after another, stipulating the compilation, printing and selling of fictions and convicting them according to the rules. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 10:55, 28 October 2021 (UTC)

In the third year of Emperor Qianlong's reign, the Ministry of Civil Affairs agreed on the regulation of "prohibition of literature", and strictly prohibited the fictions in the street, and gave different punishments according to whether the buyers and sellers had official identities. At the same time, the passage of laws such as "Buying and watching", "Selling" and "Banning Cults from Observing and collecting" also provided a criminal basis for the reproduction and peddling of erotic ci novels. Local governments represented by Jiangsu and Zhejiang also issued decrees one after another, stipulating the compilation, printing and selling of fictions with lewd words, as usual--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:08, 3 November 2021 (UTC)

==王逸凡 Wáng Yìfán 亚非语言文学女 202120081524==

根据上述法令，《金瓶梅》曾多次入列禁毁书单，如《劝毁淫书征信录》、《得一录》中，便均见此书。

二、《金瓶梅》译者考辨

然而，政府法令对淫词小说的禁毁并没有阻绝《金瓶梅》的翻刻与行销。

According to the above decree, "Jin Ping Mei" has been listed on the list of forbidden books, such as "persuade the destruction of obscene books zhengxin Lu", "de Yi Lu", will see this book.
Two, the translation of Jin Ping Mei
However, the prohibition of erotic novels by government decrees did not stop the reproduction and marketing of Jin Ping Mei--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:00, 3 November 2021 (UTC)

According to the above laws and regulations, "Jin Ping Mei" has been included in the list of forbidden books for many times, such as persuade the destruction of obscene books zhengxin Lu", "de Yi Lu".
2、 On the translators of Jin Ping Mei
However, the prohibition of pornographic novels by government laws and regulations did not prevent the reproduction and marketing of Jin Ping Mei.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:40, 7 November 2021 (UTC)

==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学）男 202120081525==

有人说，《金瓶梅》的名声是被“禁”出来的，这种观点是否合理姑且不论，不过《金瓶梅》之所以能有不同版本流传至今，本身就说明其禁毁政策的失败。而且，清代关于《金瓶梅》的禁毁有其虚伪性：一方面，政府对于此书严行禁毁；另一方面，却将其译成满文，供统治阶级自己阅读。正如马丁·吉姆指出的那样，有清一代，汉文小说被译成满文者，至少在七十二种以上，其中便包括《金瓶梅》、《西厢记》、《三国演义》等，这些小说的翻译显然无法离开统治者的支持，或者至少无法离开其默认。

Some people say that the reputation of Jin Ping Mei is from its prohibition. Whether this view is reasonable or not, but the reason why different versions of Jin Ping Mei have been circulated so far shows the failure of its prohibition policy. Moreover, the prohibition and destruction of Jin Ping Mei in the Qing Dynasty had its hypocrisy: on the one hand, the government strictly prohibited the destruction of the book; On the other hand, it was translated into Manchu for the ruling class to read. As Martin Jim pointed out, there were at least 72 kinds of Chinese novels translated into Manchu in the Qing Dynasty, including Jin Ping Mei, The Romance of The West Chamber, The Romance of The Three Kingdoms, etc. Obviously, the translation of these novels could not leave the support of the rulers, or at least its acquiescence.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 12:39, 7 November 2021 (UTC)

Some people say that the reputation of ''Gold Vase Plum'' is from its prohibition. Whether this view is reasonable or not, the reason why different versions of ''Gold Vase Plum'' have been circulated so far shows the failure of its prohibition policy. Moreover, the prohibition and destruction of ''Gold Vase Plum'' in the Qing Dynasty had its hypocrisy: On the one hand, the government strictly prohibited the destruction of the book; On the other hand, it was translated into Manchu for the ruling class to read. As Martin Jim pointed out, there were at least 72 kinds of Chinese novels translated into Manchu in the Qing Dynasty, including ''Gold Vase Plum'', ''The Romance of The West Chamber'', ''The Romance of The Three Kingdoms'', etc. Obviously, the translation of these novels could not leave the support of the rulers, or at least its tacitly approval. --[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:30, 3 November 2021 (UTC)

==卫怡雯 Wèi Yíwén 英语语言文学（英美文学）女 202120081526==

除《三国演义》（1650年刊印）之外，满译本《金瓶梅》是清初唯一得到刊印的汉文小说。由于译文自然流畅，对于生活的描述真实贴切，该译本被公认为满语文学的杰出代表之一。然而，《金瓶梅》的满文翻译究竟源自什么样的背景，其通行译本的底本究竟是哪种版本或刻本，该译本到底有几个译者，以及该译本为何能在禁令颁行之后的短短数年之内便能刊行于世等，皆存疑问与争议。

Besides ''Romance of the Three Kingdoms'' (composed and printed in 1650), Manchu translation of ''Gold Vase Plum'' was the only composed and printed Chinese novel in the early Qing Dynasty. Because of the natural and frequent translation as well as real and proper description of life, this kind of version was widely acknowledged as one of the outstanding representatives of Manchu literature. However, it was still doubtful and controversial about the background of the Manchu translation of ''Gold Vase Plum'', how many translators it had, and why it was composed and printed soon after the bans were published. --[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:29, 29 October 2021 (UTC)

Besides ''Romance of the Three Kingdoms'' (printed in 1650), the Manchu translation of ''The Golden Lotus'' is the only Chinese novel that got printed in the early Qing Dynasty. Because of the natural and fluent translation as well as the real and proper description of life, this translation is widely acknowledged as one of the outstanding representatives of Manchu literature. However, there are still doubts and controversy about these questions：What is the background of the Manchu translation of ''The Golden Lotus''? Which version is the original source for the translation? How many translators does the translation have? Why the translation was printed soon after it was banned?--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:16, 4 November 2021 (UTC)

==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学）女 202120081527==

根据昭梿在《啸亭续录》中的说法，《金瓶梅》的满文翻译系出自户曹郎中和素之手，后者谙习清文，兼通汉文，他所翻译的汉文书籍达到了绝精的程度，而《西厢记》、《金瓶梅》等书的译本也是“疏栉字句，咸中綮（qǐ）肯”，人人争相诵读。和素为满洲镶黄旗人士，曾充任皇子师傅和翻书房总裁，系顺治年间满文翻译家阿什坦次子。作为满洲汉书翻译事业高潮中的重要人物，和素一生著译甚多，其中有名者如《左传》、《菜根谭》、《黄石公素经》等，而相传《金瓶梅》亦出自其手，主要原因有二。

According to the content of Zhaolian' s ''Continuation of Xiaoting'', the Manchu translation of ''The Golden Lotus'' was made by Hesu who was the chief official in Hucao. Hesu not only mastered Manchu language but also possessed the knowledge of Chinese. His translation of Chinese books attained a really high level. His translations of ''Romance of the Western Chamber'' and ''The Golden Lotus'' were so faithful that people read them competitively. Hesu, who was from Bordered Yellow Banner in Manchuria, once took the official position of teacher for royal children and president of Fanshu house. In addition, he was the little son of Ashtan who was a Manchu translator in Shunzhi years. As an important figure in the climax of the cause of translating Chinese books in Manchuria, Hesu translated a lot of books including famous works such as ''Legend of Spring and Autumn Century by Zuo Qiuming''，''Roots of Wisdom'', ''Huang Shigong Scripture'' and so on. It is said that the translation of ''The Golden Lotus'' was also made by him. Here are two main reasons.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:03, 4 November 2021 (UTC)

According to the statements in Zhaolian' s ''Continuation of Xiaoting'', ''The Golden Lotus'' in Manchu was translated by Hesu who was the official office in charge of people's households, ancestral temples, agriculture, mulberry and also was the chief imperial chamberlain. Hesu was not only skilful at the Qing language but also proficient in Chinese. His translation of Chinese books has reached the point of absolute perfection. Besides, in his translations of ''The Romance of Western Chamber'' and ''The Golden Lotus'', he also trimmed the words, sentences and got to the main point so that everyone strived to read and recite these works. Hesu, a Bordered Yellow Banner in Manchu, was once in the position of the master of the emperor's son and the president of the Translation Study. In addition, he was the second son of Ashtan who was a Manchu translator during the years of Shunzhi. As an important figure of the climax in the course of translating Chinese books into Manchu, Hesu translated a great number of books including some famous works such as ''Zuozhuan''，''Tan Roots'', ''Huangshi Gongsu Meridian'' and so on. What's more, it was said ''The Golden Lotus'' was also translated by him. There were two main reasons.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 03:04, 5 November 2021 (UTC)

==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学）女 202120081528==

其一，便是和素兼通满、汉，其本人确系康熙朝的著名翻译家，曾亲自组织、参与诸多汉籍的翻译；其二，如上述昭梿的《啸亭续录》一样，清初档案文献中确有不少将满译《金瓶梅》归于和素者。《啸亭杂录》和《清稗类钞》中，也称赞和素翻译的《金瓶梅》和《西厢记》等“极其出色”。然而，也有持论不同者。如《批本随园诗话》“批语”中说：“翻译《金瓶梅》，即出徐蝶园手。”

Firstly, it was because Hesu was proficient in both Manchu and Chinese, he himself was indeed a famous translator of the Kangxi Dynasty. Besides, he has personally organized and participated in the translation of many Chinese books. Secondly, just like Zhaolian’s ''Continuation of Xiaoting'' above, in the archives and documents of the early Qing Dynasty, quite a few people owed the translation of ''The Golden Lotus'' in Manchu to Hesu. In ''Miscellaneous Records of Xiaoting'' and ''Clean Barnyard Class Notes'', the author also praised Hesu’s translations of ''The Golden Lotus'' and ''Romance of the Western Chamber'' as “excellent”. However, there were people who held different views. Like the “remarks” in ''Essays of Suiyuan on Poetry'' which said that ''The Golden Lotus'' was translated by Xu Dieyuan.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 06:44, 1 November 2021 (UTC)

First of all, it was because Hesu was proficient in both Manchu and Chinese, and at the same time participated in lots of translations. He himself was indeed a famous translator of the Kangxi Dynasty. Besides, he has personally organized and participated in the translation of many Chinese books. Secondly, just like Zhaolian’s ''Continuation of Xiaoting'' above, in the archives and documents of the early Qing Dynasty, quite a few people owed the translation of ''The Golden Lotus'' in Manchu to Hesu. In ''Miscellaneous Records of Xiaoting'' and ''Clean Barnyard Class Notes'', the author also praised Hesu’s translations of ''The Golden Lotus'' and ''Romance of the Western Chamber'' as “excellent”. However, there were people who held different ideas. Like the “remarks” in ''Essays of Suiyuan on Poetry'' which said that the translator of ''The Golden Lotus'' was Xu Dieyuan.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 11:43, 1 November 2021 (UTC)

==吴婧悦 Wú Jìngyuè 俄语语言文学女 202120081529==

徐蝶园即徐元梦，满洲正白旗人，康熙朝重臣，康熙十二年进士，选授庶吉士，先后于雍正、乾隆两朝充任《明史》总裁，以及《清世宗实录》副总裁。徐蝶园精研满汉文，曾于康熙年间署大学士，充起居注讲官，但正史中对于徐氏的译书活动记载较少，而且往往语焉不详，因此难以判断其译者身份。叶德均在《戏曲小说丛考》中，也援引伍子舒（闽浙总督伍拉纳之子）所撰《随园诗话》点校本中的说法，指出《金瓶梅》的满文译者即是徐蝶园，但这一观点始终不如前一种通行。

Xu Dieyuan was Xu Yuanmeng, a native of the Manchu flag, a high-ranking official of Kangxi, and was Scholars in the twelfth year of Kangxi. He was appointed the president of the ''Ming Dynasty'' in Yongzheng and Qianlong and the vice president of the ''Records of the Qing Dynasty''. Xu Dieyuan studied Chinese literature. He worked as a college scholar during the reign of Kangxi and made charge of daily life. However, the translation activities of Xu in official history are few, and often vague, so it is difficult to judge the identity of the translator. In the ''Cong Examination of Opera Novels'', Ye Dejun also quoted Wu Zishu (the son of Wu Lana, governor of Fujian and Zhejiang) in the ''Poetry of the Garden'', pointing out that the Manchu translator of ''The Golden Lotus'' is Xu Dieyuan, but this view is always not as popular as the previous one. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 11:44, 1 November 2021 (UTC)
Xu dieyuan, namely Xu Yuanmeng, a native of Manchuria's Zhengbai banner, was an important Minister of the Kangxi Dynasty. He was elected as a scholar in the 12th year of the Kangxi Dynasty and was awarded to Shu Jishi. He successively served as president of the history of the Ming Dynasty and vice president of the records of emperor Shizong of the Qing Dynasty in the Yongzheng and Qianlong dynasties. Xu dieyuan is a master of Chinese. He once served as a bachelor and a lecturer during the reign of Kangxi. However, there are few records of Xu's book translation activities in official history, and they are often vague, so it is difficult to judge his translator's identity. Ye Dejun also quoted the view in the school edition of Suiyuan poetry written by Wu Zishu (the son of Wu Lana, governor of Fujian and Zhejiang) in his collection of opera novels, pointing out that the Manchu translator of Jin Ping Mei is Xu dieyuan, but this view is not as popular as the former.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 12:07, 1 November 2021 (UTC)

==吴映红 Wú Yìnghóng 日语语言文学女 202120081530==

徐蝶园晚年的确参与过翻译之事，但满译本《金瓶梅·序》的署理日期为康熙四十八年，而徐蝶园此前曾经两度被诏罪入狱，因而由他翻译此书，条件上似乎不大成立。而且，徐蝶园虽然精研满汉双语，但其中年后精研理学，这一点与《金瓶梅》的题材内容和思想旨趣，以及序言中对于该书的积极评价等，也不尽符合。与此同时，更有认为满译本《金瓶梅》系出自皇族成员者，这种观点主要见于西方学者，又分成两派。
Xu dieyuan did participate in translation in his later years, but the acting date of the Manchu translation of Jin Ping Mei · preface is the 48th year of Kangxi. Xu dieyuan had been jailed for imperial edicts twice before, so it seems that the conditions for him to translate the book are not tenable. Moreover, although Xu dieyuan studied both Manchu and Chinese, he studied Neo Confucianism in his middle age, which is not consistent with the theme, content and ideological purport of Jin Ping Mei, as well as the positive evaluation of the book in the preface. At the same time, it is also believed that the Manchu version of Jin Ping Mei comes from members of the royal family. This view is mainly seen in western scholars and divided into two schools.

Xu Dieyuan did participate in the translation in his later years, but the full translation of Jin Ping Mei · Preface was written in the 48th year of The Kangxi Dynasty, and Xu Dieyuan had been sentenced to prison twice before, so it seems unlikely that he could translate this book. Moreover, although Xu Dieyuan concentrates on studying Both Manchu and Chinese, he concentrates on neo-confucianism in the second half of the year, which is not in accordance with the subject matter and ideological purview of Jin Ping Mei, as well as the positive evaluation of the book in the preface. At the same time, there are more people who believe that the full version of Jin Ping Mei is from the royal family, which is mainly seen in western scholars and divided into two schools.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 12:39, 7 November 2021 (UTC)

==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学）女 202120081531==

其中，一派认为是出自康熙皇帝的兄弟，如黎马苏（1833：182-183）、克拉普罗特（1633：61）、怀利（1855：XLIII）、加伯连茨（1862：543）、圣德尼斯和赫维侯爵（1894：17）、格鲁伯（1909：431）、劳弗尔（1908：32）、耶格尔（1935：539），以及鲍威尔（1974：1940-1941）等；另一派则认为是出自乾隆皇帝的某个兄弟，如加伯连茨（1879：171）、格列宾西科夫（1879：171）、莫连道尔夫（1890：235）、扎查（1905：130），以及李福廷和西蒙诺夫（1981：259）等。上述两派观点多次出现在欧洲的文学作品中，但二者都缺乏史料考证，至少未能获得中国学界的重视与认可。

Among them, one group attributed it to the brothers of Kangxi Emperor, such as Li Masu (1833:182-183), Clavprot (1633:61), Wylie (1855: XLIII), Gabelenz (1862:543), Saint Denis and the Marquis of Herve (1894:17), Gruberb (1909:431), Lauffer (1908:32), Yeager (1935:539), and Powell (1974:1940 -- 1941); while the other attributed it to the brothers of the Qianlong Emperor, such as Gabrenz (1879:171), Grebinshikov (1879:171), Mollendolf (1890:235), Zacha (195:130), and Li Futing and Simonov (1981:259).These two different viewpoints have appeared many times in European literary works, but both of them lacked historical evidence which failed to win the attention and recognition of Chinese scholars.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 12:11, 1 November 2021 (UTC)

Among them, one group thought it was from the brothers of Kangxi Emperor, such as Li Masu (1833:182-183), Clavprot (1633:61), Wylie (1855: XLIII), Gabelenz (1862:543), Saint Denis and the Marquis of Herve (1894:17), Gruberb (1909:431), Lauffer (1908:32), Yeager (1935:539), and Powell (1974:1940 -- 1941); while the other thought it was from one of the brothers of the Qianlong Emperor, such as Gabrenz (1879:171), Grebinshikov (1879:171), Mollendolf (1890:235), Zacha (195:130), and Li Futing and Simonov (1981:259).These two different viewpoints have appeared many times in European literary works, but both of them lacked historical evidence which failed to win the attention and recognition of Chinese scholars.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 00:38, 2 November 2021 (UTC)

==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学）女 202120081532==

考虑到康、雍以来的历代君主对于淫词小说一直采取禁毁态度，而在此情形下竟有皇族成员翻译《金瓶梅》这样的禁毁小说，其荒唐之程度，难以想象。但不论实际情形如何，《金瓶梅》最终还是译成付梓，这一事实只能说明两点：其一，清代的所谓书禁或禁译只是针对民间，对统治者尤其是君主而言则可能是“无禁”；其二，翻书房的设立固然是为了翻译汉族经典和汉文书籍，但也不能排除翻译禁毁书籍，专供皇帝御览。总之，《金瓶梅》的满文翻译与刊刻，不可能游走在政府禁令之外，而不得到政治力的审查、默认或者首肯。

Considering that the monarchs of Qing dynasties since Kangxi and Qianlong have always adopted the attitude of banning and destroying pornographic novels, and in this case, it is unimaginable that royal family members translate forbidden novels such as The Golden Lotus. However, regardless of the actual situation, the fact that The Golden Lotus was finally translated and published can only explain two points: firstly, the so-called prohibition of some books or translation in the Qing Dynasty was only aimed at the folk, and it may be "no prohibition" for the rulers, especially the monarchs; Secondly, although the establishment of the translation study is to translate Han classics and Chinese books, it can not rule out the prohibition of the translation of books for the emperor's viewing. In a word, the Manchu translation and publication of The Golden Lotus can not walk outside the government ban without political review, acquiescence or approval.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 13:26, 29 October 2021 (UTC)

Considering that the monarchs of Qing dynasties since Kangxi and Qianlong have always adopted the attitude of banning and destroying pornographic novels, and in this case, it is unimaginable that royal family members translate forbidden novels such as The Golden Lotus. However, regardless of the actual situation, the fact that The Golden Lotus was finally translated and published can only explain two points: firstly, the so-called prohibition of some books or translation in the Qing Dynasty was only aimed at the folk, and it may be "no prohibition" for the rulers, especially the monarchs; Secondly, although the establishment of the translation study is to translate Han classics and Chinese books, it can not rule out the prohibition of the translation of books for the emperor's viewing. In a word, the Manchu translation and publication of The Golden Lotus can not walk outside the government ban without political review, acquiescence or approval.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:09, 30 October 2021 (UTC)

==谢庆琳 Xiè Qìnglín 俄语语言文学女 202120081533==

特别是在康熙朝以后皇权至上的集权政治中，离开了最高统治者的支持，任何汉籍的翻译恐怕都无法成行。事实上，虽然淫词小说的禁毁乃是清代长期的文化政策，但政府在推进、执行这一政策的过程中，也存在不作为或者消极作为的情况。正如余治在《得一录》中所说，清廷对于淫词戏曲，虽有禁毁之条，而当政者中视其为一纸空文，坐视不管者，亦大有人在。

Especially in the centralized politics where imperial power reigned supreme after the Kangxi dynasty, I am afraid that no translation of Chinese books could be made possible without the support of the supreme ruler. In fact, although the prohibition of obscene novels was a long-standing cultural policy of the Qing Dynasty, there were cases of government inaction or passive action in promoting and implementing this policy. As Yu Zhizhi says in "The Record of the First", although the Qing court had a prohibition on the destruction of obscene words and operas, there were many people in power who regarded it as a piece of paper and sat on it.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 11:07, 30 October 2021 (UTC)

Especially in the centralized politics where imperial power reigned supreme after the Kangxi’s reign, I am afraid that no translation of Chinese works could be come out without the support of the supreme ruler. In fact, although the prohibition of obscene novels was a long-standing cultural policy of the Qing Dynasty, there were cases of government inaction or passive action in promoting and implementing this policy. As Yu Zhi says in "The Record of the First", although the Qing court had a prohibition on the destruction of obscene poems and operas, there were many people in power who regarded it as a piece of paper and sat by and did nothing.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 07:11, 1 November 2021 (UTC)

==熊敏 Xióng Mǐn 英语语言文学（英美文学）女 202120081534==

乾隆三年，朝廷在颁布禁毁之令时，即关注到了地方官府执行不力的情况，认为这是导致禁毁失败的主要原因。而政府的消极作为主要来自两方面的原因，其一是所谓“人情”，即人之本性，其二是小说本身的应世性，即有助于市民在长期遭受禁欲主义后宣泄情绪。正是由于人心、人情难禁，因而《金瓶梅》的翻译与刊刻便有了生存空间。

In the third year of Qianlong’s reign, the court issued the restraining order and noticed the inefficiency of local governments, which was believed as the main cause of failure. The government’s working inefficiency resulted from two reasons. One was “renqing” which is human nature. The other was the practicality of novel, which did help citizens alleviate pressure after being depressed for a long time. It was human nature that made the translation and publication of “The plum in the Golden Vase” possible.

In the third year of Qianlong’s reign, the court issued the restraining order and noticed the inefficiency of local governments which was believed as the main cause of failure. The government’s working inefficiency resulted from two reasons. One was “RenQing” which is represent human nature. The other was the practicality of novel, which did help citizens alleviate pressure after being depressed for a long time. It was human nature that made the translation and publication of ''The plum in the Golden Vase'' has room for survival.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:50, 4 November 2021 (UTC)

==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究男 202120081535==

正如王汝梅先生所说，康熙年间政府一再严谨淫词小说，而以满文翻译《金瓶梅》，其工程可谓浩大，因而该书的翻译不可能只是民间行为。恰恰相反，《金瓶梅》的翻译势必是得到了康熙帝御准的，由翻书房具体策划和实施的“计划内工程”。《金瓶梅》的满文译本成书于康熙四十七年，全书共计四十卷一百回，其存本与抄本被分别收藏于国家图书馆、中央民族大学图书馆、中国社科院民族研究所、北京民族文化宫、大连图书馆、吉林大学图书馆，并另有赵则诚先生藏本一部。

As Mr. Wang Rumei said, during the Kangxi period, the government repeatedly banned pornographic novels, and the task of translating Jin Ping Mei into Manchu was huge. Therefore, the translation of jin Ping Mei could not be just a folk act. On the contrary, the translation of Jin Ping Mei must have been approved by Emperor Kangxi and specifically planned and implemented by Fanshufang. The Manchu translation of Jin Ping Mei was completed in the 47th year of Kangxi, with a total of 40 volumes and 100 chapters. Its deposits and transcripts are collected in the National Library, the Central University for Nationalities Library, the Institute of Ethnic Studies of the Chinese Academy of Social Sciences, Beijing National Culture Palace, Dalian Library, and Jilin University Library, and one copy in the collection of Mr. Zhao Zecheng.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 06:20, 28 October 2021 (UTC)

As Mr. Wang Rumei said, during the Kangxi period, the government repeatedly banned pornographic novels, and the task of translating ''The Plum in the Golden Vase'' into Manchu was huge. Therefore, the translation of ''The Plum in the Golden Vase'' could not be just completed by the folks. On the contrary, it must have been approved by Emperor Kangxi and specifically planned and implemented by Translation Office. The Manchu translation of ''The Plum in the Golden Vase'' was completed in the 47th year of Kangxi, with a total of 40 volumes and 100 chapters. Its deposits and transcripts are collected in the National Library, the Central University for Nationalities Library, the Institute of Ethnic Studies of the Chinese Academy of Social Sciences, Beijing National Culture Palace, Dalian Library, and Jilin University Library, and one copy in the collection of Mr. Zhao Zecheng.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 03:41, 2 November 2021 (UTC)

==颜静 Yán Jìng 语言智能与跨文化传播研究女 202120081536==

上述藏本中，既有刊本，又有抄本，其中多数又为残本。如前所述，关于《金瓶梅》满文译本到底出自何人之手，学界长期存在争议，其中原因无疑与译本序言中并未明确译者姓名有关。同时，译本序言本身又缺乏作者，使得译本的归属如同原著的作者一样更加扑素迷离。

Among the above collections, there are both printed and copied edition, most of which are fragmentary. As mentioned above, there has been a long-standing controversy in the academic circles about who wrote the Manchu translation of ''The Plum in the Golden Vase'', which is undoubtedly related to the fact that the name of the translator is not clear in the preface of the translation. At the same time, the preface itself lacks the author, which makes the ownership of the translation more blurred like the author of the original.

which is undoubtedly connected with the fact that the name of the translator is not clear in the preface of the translation.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:48, 7 November 2021 (UTC)

==颜莉莉 Yán Lìlì 国别女 202120081537==

虽然如此，一般仍认为和素即是该书的译者，一则是因为昭梿的《啸亭杂录》和《啸亭续录》中均提及此事，且昭梿本人又是皇族之后，其所言所记当属可信。另一方面，康熙四十七年，和素曾奉敕纂成《清文鉴》一书，而《金瓶梅》的满文译本刊印于康熙四十五年，其序言的刊行时间则与《清文鉴》的成书时间相同，二者的编纂和翻译时间相距较短，期间必有关联。王汝梅先生在和候忠义先生合编《金瓶梅资料汇编》一书时，曾经从赵则诚先生处借得满文本《金瓶梅》，并请刘厚生先生将满文序文译成汉语，认为该序言表明译者即是和素。

However, it is still generally believed that He Su was the translator of the book, partly because Zhaofan's "Xiao Ting Miscellaneous Records " and "Xiao Ting Miscellaneous Records·Sequel" are mentioned in this matter, and Zhaofan himself is a descendant of the royal family, what he said should be credible. On the other hand, in the 47th year of the Kangxi dynasty, He Su was ordered by the Emperor to write the ''Imperial Code of Qing Wen Jian'', and the Manchu version of Jin Ping Mei was published in the 45th year of the Kangxi dynasty. The publishing time of its preface was the same as that of the ''Imperial Code of Qing Wen Jian''. The compilation and translation time of the two is relatively short, so there must be a correlation between them. When Mr. Wang Rumei and Mr. Hou Zhongyi were co-editing the ''Jin Ping Mei Data Collection'', he borrowed the full text of ''Jin Ping Mei'' from Mr. Zhao Zecheng and asked Mr. Liu Housheng to translate the Manchu preface into Chinese, believing that the preface indicated that the translator was He Su.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 08:31, 30 October 2021 (UTC)

Nevertheless, it is generally believed that Hesu is the translator of the book. On the one hand, it is mentioned in Zhaohe's miscellaneous records of Xiaoting and continuation of Xiaoting, and after Zhaohe himself is a royal family, his words and records are credible. On the other hand, in the 47th year of Kangxi, Hesu was compiled into qingwenjian by imperial edict, while the Manchu translation of Jin Ping Mei was published in the 45th year of Kangxi. The publication time of its preface is the same as that of qingwenjian. The compilation and translation time between them is short, and the period must be related. When Mr. Wang Rumei and Mr. Hou Zhongyi jointly compiled the compilation of Jin Ping Mei materials, he once borrowed the full text of Jin Ping Mei from Mr. Zhao Zecheng and asked Mr. Liu housheng to translate the Manchu preface into Chinese. He believed that the preface showed that the translator was a harmony element.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:09, 7 November 2021 (UTC)

==颜子涵 Yán Zǐhán 国别女 202120081538==

但满文本《金瓶梅》序言中，介绍的主要是该书的故事梗概，明确指出了该书的劝戒之意，并有“是以令其译之”，以及“余趁闲暇之时作了修订”等语，但由于序言本身缺乏作者，因而此处所说的“其”（即译者）系指谁，且该译者又是受“令”于谁等，皆成疑问。然而，满文本《金瓶梅》确系译自崇祯本《金瓶梅词话》，同时参照了张竹坡的《金瓶梅》点评本，这一点已成共识。众所周知，张评本《金瓶梅》刊刻于康熙三十四年，其底本同样是崇祯本《金瓶梅词话》，而满译本《金瓶梅》成书于康熙四十五年，前后相距十三年。

However, the preface of the Manchu text Jin Ping Mei mainly introduces the story outline of the book, It clearly points out the meaning of the book's admonition, and has the words "to make it translated" and "I revised it in my spare time". But due to the lack of author in the preamble, It is doubtful who is the "Qi" (the translator) refers to here, and whose "command" the translator has received. However, the Manchu text Jin Ping Mei is indeed translated from Chongzhen's Jin Ping Mei CI Hua, and also refers to Zhang Zhupo's comment on Jin Ping Mei, which has become a consensus. As we all know, Zhang Ping's Jin Ping Mei was published and engraved in the 34th year of Kangxi, and its base copy is also Chongzhen's Jin Ping Mei CI Hua, while the Manchu translation of Jin Ping Mei was completed in the 45th year of Kangxi, 13 years apart.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 02:31, 29 October 2021 (UTC)

However, the preface of Jin Ping Mei in the Manchu translation mainly introduces the outline of the book, explicitly points out that the meaning of the book's admonition and that has the words "to make it translated" and "to revise it in spare time". But due to the lack of author in the preface, It is doubtful who is the translator in it, and whom "command" the translator. However, However, it has become a consensus that the Manchu version of Jin Ping Mei is indeed translated from Chongzhen edition of Ci hua of Jin Ping Mei, with reference to zhang Zhupo's commentary edition of Jin Ping Mei. As is known to all, Zhang's Jin Ping Mei was printed in the 34th year of the Reign of Emperor Kangxi, and its original version is also the Edition of Jin Ping Mei in the period of Emperor Chongzhen, while the Manchu version of Jin Ping Mei was completed in the 45th year of the Reign of Emperor Kangxi, 13 years apart.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 12:17, 7 November 2021 (UTC)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

在此期间，虽然该书的满文翻译到底缘起于何时，仍不得而知，但考虑到译者对于底本的比堪与研究，其翻译的过程势必绵长。三、《金瓶梅》翻译中的意识形态审查。不同于《三国演义》中“文不甚深，言不甚俗”的语言特点，《金瓶梅》中充斥着大量情色描写。

During this period, although the exact origin of the Manchu translation of this book remains to be find, considering the translator’s comparison and research on the original, the process of translation is bound to be long. Third, the ideological review in the translation of Jin Ping Mei. Different from the Romance of The Three Kingdoms, in which the writing is not too abstruse and the words are not vulgar, Jin Ping Mei is flooded with erotic descriptions.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 02:39, 29 October 2021 (UTC)

During this period, although the exact time of the Manchu translation of "The Plum in the Golden Vase" is still unknown, considering the translator's comparison and research on the original text, the translation process is bound to be a long period. Third, The ideological review in the translation of "The Plum in the Golden Vase". Different from the linguistic characteristics of "The Romance of the Three Kingdoms", in which the writing is not too abstruse and the words are not vulgar", "The Plum in the Golden Vase" is full of erotic descriptions., --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 01:47, 6 November 2021 (UTC)

==杨爱江 Yáng Àijiāng 英语语言文学（语言学）女 202120081541==

同时，虽然《金瓶梅》的满文译本最终成书于康熙年间，但统治者对于此书的翻译讳莫如深，这一点也明显不同于《清实录》等文献中关于清初诸帝好读《三国演义》，并敕译此书的历史现实。态度上的前后转变，其中必有起因。正如丁原基在《清代康雍乾三朝禁书原因之研究》中所说，清代各朝之所以频兴文字狱，其中原因虽不尽相同，但亦必有之。例如，康熙初年，明朝遗老怀故国之思者甚多，其所撰作品自然入禁毁之列。

At the same time, although the Manchu translation of "The Plum in the Golden Vase" was finally written in the Kangxi period, the rulers were extremely reticent about the translation of this book. It is also obviously different from the fact stated in "Factual Record of Qing Dynasty" and other documents that the rulers in the early Qing Dynasty were fond of reading "The Romance of the Three Kingdoms" and they ordered their ministers to translate the historical reality of this book. There must be a cause for the change in attitude. As Ding Yuanji said in "Research on the Reasons for the Officially Banned Books in the Three Periods of Kang, Yong and Qian in Qing Dynasty", the reasons for the frequent rise of literary inquisition in various periods of Qing Dynasty were a little bit different, but still there were some reasons behind it. For example, in the early years of Kangxi, there were many old adherents of the Ming dynasty who missed their country.As a result, their works were forbidden and destroyed.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 01:31, 6 November 2021 (UTC)

At the same time, although the Manchu translation of "The Plum in the Golden Vase" was finally completed in the Kangxi period, the rulers were extremely reticent about the translation of this book,which is also obviously different from the fact stated in "Factual Record of Qing Dynasty" and other documents that the rulers in the early Qing Dynasty were fond of reading "The Romance of the Three Kingdoms" and they ordered their ministers to translate the historical reality of this book. There must be a cause for the change in attitude. As Ding Yuanji said in "Research on the Reasons for the Officially Banned Books in the Three Periods of Kang, Yong and Qian in Qing Dynasty", the reasons for the high frequency of literary inquisition in various periods of Qing Dynasty were a little bit different, but still there were some reasons behind it. For example, in the early years of Kangxi, there were many old adherents of the Ming dynasty who missed their country.As a result, their works were forbidden and destroyed.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:43, 6 November 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

康熙仙逝，雍正得其帝位，然而由于朝野疑窦重重，政权未稳，朝廷对于舆论也倍加留心。乾隆年间，虽然朝廷奉敕开设四库馆，博取奖励学术的美名，但禁书之苛刻同样无出其右。如康熙朝初期，由于圣祖表彰理学，故而御纂朱子全书，以及群经性理诸编。

Kangxi passed away and Yongzheng won his throne. However, due to the doubts of the royal court and the instability of his regime, the court paid more attention to public opinion. During the period of Qianlong, although the royal court set up Four Storehouses, which won the reputation of rewarding scholarship, the harshness of banned books was also unparalleled. For example, in the early period of the Kangxi, because Kangxi commended Neo-Confucianism, Qianlong ordered to compile the complete books of Zhu Zi and the Confucian classics.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 12:53, 29 October 2021 (UTC)

Kangxi passed away and Yongzheng succeeded to the throne. However, due to the doubts of the royal court and the instability of his regime, the court paid more attention to public opinions. During the reign of Qianlong, although the royal court set up Four Storehouses, which won the reputation of rewarding scholarship, the harshness of banned books was still incomparable. For example, in the early period of Kangxi Dynasty, the emperor ordered to compile the complete books of Zhu Zi and the Confucian classics because the founding emperor commended Neo-Confucianism.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:26, 3 November 2021 (UTC)

==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学）女 202120081543==

康熙二十五年，上谕礼部及翰林院，指出经学史乘务必以“修齐治平，助成德化者方为有用”，而“有乖经术，异端邪说”，则概不准录。即是在此背景下，南怀仁的《穷理学》译本因为实属“诡言邪说”、“语既不经”，也遭到禁毁。此次遭到禁毁的《穷理学》二书译成于康熙二十二年，共六十卷，由南怀仁于同年八月进呈御览。
In the 25th year of the Reign of Emperor Kangxi,the Ministry of Rites and Literati House have been ordered that Confucian classics and books about official history "cannot be called useful unless they are for the purpose of improving self-cultivation and governance of country and helping people to become virtuous"; "those deviated from Confucian classics and those heresies" will not be embodied. It was in such an background that the translation of "Philosophy of pursuing truth" by Nan Huairen was banned and destroyed because it was regarded as "paradoxical, heretical and unorthodox". The books of "Philosophy of pursuing truth" which were banned and destroyed had been translated in the 26th year of the reign of Kangxi Dynasty,consisting of 60 volumes, which Nan Huairen submitted to the imperial review in August of the same year.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 03:02, 3 November 2021 (UTC)

In the 25th year of the Reign of Emperor Kangxi,the Ministry of Rites and Literati House have been ordered that the Confucian classics and historical books "must be useful for the purpose of improving self-cultivation, of the stable governance of country and of helping people to be virtuous"; "those deviated from Confucian classics and those heresies" can not be included. It was exactly in such background that the translation of "Philosophy of pursuing truth" by Nan Huairen was banned and destroyed for it was regarded as "paradoxical, heretical and unorthodox". The two books of "Philosophy of pursuing truth" banned and destroyed were translated in the 26th year of the reign of Kangxi Dynasty,consisting of 60 volumes, which Nan Huairen later submitted to the imperial review in august of the same year.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:16, 6 November 2021 (UTC)

==叶维杰 Yè Wéijié 国别男 202120081544==

所谓《穷理学》，用徐宗泽的话说，便是“论理学”，该书或译自亚里士多德哲学中的某一部分，或续译傅汎际（Francois Furtado）、李之藻合译的《名理探》。南怀仁在进呈此书译本的奏折中指出：进穷理学之书，以明历理，以广开百学之门，永垂万世事。窃惟治历明时，为帝王之首务；今我皇上治历明时，超越百代，如太阳之光，超越诸星之光。
The so-called ''Qiongli Xue'' is considered “views about science ” in Xu Zongze's opinion. The book Qiongli Xue is either translated from a certain part of Aristotle's philosophy, or a continuation of the translation of "Ming Li Tan" by Francois Furtado and Li Zhizao. Nan Huairen pointed out in the memorial to the translation of this book: By the thorough studying of the books of science, from the understanding of all the science theory in the past, with the establishment of every subject, to the reigning in forever time. Maintaining the stability of society is emperor's first task. Now our reignment is stable and prosperous, no dynasty else could compete, as every star dims before the glory of great sun.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:59, 6 November 2021 (UTC)

The so-called "QiongLiXue ", in the words of Xu Zongze, is the "theory of science", the book is either translated from a part of Aristotle's philosophy, or continue to translate the translation of Francois Furtado, Li Zhizao's translation of the "name and theory of exploration". Nan Huairen in the submission of the translation of this book, pointed out: into the book of poor science, in order to understand the calendar, in order to widely open the door of a hundred studies, eternal things. The emperor's first task is to rule the calendar and to understand the time; now our emperor rules the calendar and understands the time, beyond a hundred generations, like the light of the sun, beyond the light of the stars.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:44, 7 November 2021 (UTC)Yi Yangfan

==易扬帆 Yì Yángfān 英语语言文学（英美文学）女 202120081545==

然盖历法有属法之数，有立法之理，设惟有其法之数，而无其法之理，即如人惟有形体，而无灵性，亦如诸天惟有定所，而无运动之照临焉。夫历理为诸星恒动定规之所由，如泉源为水流之之所自也。……今我皇上之治历，已为全备，其书则有永年历表，有灵台仪象志，有诸历之理指一百五十余卷。

However, the calendar has the number and theory of the law. If there is only the number of the law, but don’t have the theory, that is, as a person only has a body without spirituality, and as the sky only has a fixed place, but no movement of the illumination. The calendar for the constant movement as the stars move the rules of the origin, or as the water flow from the source...Nowadays, our emperor's calendar has been fully prepared, and its books include the calendar of eternal years, the spiritual platform, and more than one hundred and fifty volumes of the calendar.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 07:22, 3 November 2021 (UTC)Yi Yangfan

However, the calendar has both the number and theory of the law. If there is only the number of the law, but don’t have the theory, that is, as if a person only has a body without spirituality, and as if the sky only has a fixed place, but no movement of the illumination. The design for calendar is because of the constant movement of the stars, just as the water flow from the source...Nowadays, our emperor's calendar has been fully prepared, and its books include the calendar of eternal years, the spiritual platform, and more than one hundred and fifty volumes of the calendar.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:34, 3 November 2021 (UTC)

==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学）女 202120081546==

历典光明，可谓极矣。然臣犹有请者，非为加历理之内光，惟加历理之外光，将所载诸书之历理，开穷理之学，以发明之，使习历者知其数，并知其理，而后其光发见于外也。《穷理学》虽然翻译了亚里士多德的演绎推理等理论，但它也翻译了古希腊的自然哲学内容，以及近代西方的科学知识，因而并非专门的逻辑学译著。

The compilation of the calendar has reached its peak in this dynasty. However, I still have something to present, not aiming to complement the calendar but to further promote it. I will record books on calendar theory and create a study of calendar theory, so as to create new methods on it, so that people who study calendar can know the number of calendar and its principle, and then carry forward the calendar.
Although ''Thorough Iquiry into Physics'' translated Aristotle's theories like deductive reasoning, it also translated the natural philosophy of ancient Greece and modern western scientific knowledge, so it is not a special translation for logic.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 02:24, 3 November 2021 (UTC)

The grandness of the compilation of the calendar is unparalled. However, I still have something to present, aiming not to complement the calendar but to further promote it. I will record books on calendar theory and create a study of it, so that people who study calendar can know both the number and principles of the calender, and then carry it forward .
Although the translation of Aristotle's theories like deductive reasoning were included in ''Thorough Inquiry into Physics'', so were the natural philosophy of ancient Greece and modern western scientific knowledge. Therefore it is by no means a mere translation for logic.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 01:43, 5 November 2021 (UTC)

==殷美达 Yīn Měidá 英语语言文学（语言学）女 202120081547==

《影响中国近代社会的一百种译著》中，曾有人将《穷理学》看作《名理探》的补译，认为南怀仁翻译此书，只是为了证明“目的论”这一经院哲学中的基本概念，这一观点显然值得商榷。《穷理学》译本中，固然摄入了逻辑学、方法论等形而上学的内容，但同时也摄入了力学、数学等自然科学知识。上文中，南怀仁借进呈《穷理学》译本之际，极力宣陈修历的重要性，并将“穷理学”看作“百学之宗”，认为它有如砺石，可以之试真；有如蘑堪，可以之订非；有如眼目，可以之明悟。

In the book ''One Hundred Translations that influenced Modern Chinese Society'', some people viewed ''Thorough Inquiry into Physics'' as a supplementary translation of ''Dialectic'', and that Nan Huairen's purpose of translating the book was to prove Skopos Theory, a basic concept in Scholasticism, which is obviously worth discussing. It's true that contents of metaphysics like logic and methodology were included in the translation of ''Thorough Inquiry into Physics'' ,but so were knowledge of natural sciences like mechanics and mathematics alike. In the above article, Nan Huairen made an utmost effort to claim the importance of revising calendar. He regarded ''Thorough Inquiry into Physics'' as " the center of one hundred schools" ,which is like a burr that could distinguish the genuine from the fake, an exam that could tell problems and the eyes that could see things through.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 00:54, 5 November 2021 (UTC)

In ''One Hundred Translations that influenced Modern Chinese Society'', some people regarded ''Thorough Inquiry into Physics'' as a supplementary translation of ''Dialectic'', and that Nan Huairen's purpose of translating the book was to prove Skopos Theory, a basic concept in Scholasticism, which is obviously worth discussing. It's true that the contents of metaphysics like logic and methodology were included in the translation of ''Thorough Inquiry into Physics'' ,but so were knowledge of natural sciences like mechanics and mathematics alike. Above the content, Nan Huairen made an great effort to stress the importance of revising calendar and regarded ''Thorough Inquiry into Physics'' as " the center of one hundred schools" ,which is like a burr that could distinguish the genuine from the fake, an exam that could correct wrongs and the eyes that could see through things.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:37, 7 November 2021 (UTC)

==尹媛 Yǐn Yuán 英语语言文学（英美文学）女 202120081548==

概言之，便是“诸学之首需者”。康熙二十二年，《穷理学》完成编译，同年八月二十六日进呈康熙皇帝。康熙帝御览此书后，曾降旨礼部和翰林院，敕令其“会同详看议奏”，但士大夫们经过议复之后，不少人对此抱持异议，其中甚至有强烈抵触者，因而康熙帝只能将此书译本退还南怀仁。

In a word, what is needed is what should be learning first. In the twenty-second year of Kangxi, the complication of ''Through Inquiry into Physics'' was finished and submitted to the Emperor Kangxi on the August 26th the same year. After reading this book, the Emperor Kangxi had ordered the Ministry of Rites and the Imperial Academy to gather to read and discuss in detail. But after the discussion of scholar-bureaucrats, many people agreed, even some of them had strong resistance about it. Therefore, the Emperor Kangxi had to return this complication to Nan Huairen.

In a word, what is needed is what should be learning first. In the twenty-second year of Kangxi, the compilation of ''Through Inquiry into Physics'' was finished and submitted to the Emperor Kangxi on the August 26th the same year. After reading this book, the Emperor Kangxi had issued a imperial decree gathering the Ministry of Rites and the Imperial Academy to read and discuss in detail. But after the discussion of scholar-bureaucrats, many people disagreed, even some of them had strong resistance about it. Therefore, the Emperor Kangxi had to return this compilation to Nan Huairen.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 09:37, 3 November 2021 (UTC)

==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学）女 202120081549==

格物致知的书籍尚且如此，诲淫诲盗的小说更不用说。仍以《金瓶梅》的满文翻译与传播接受为例，即可知此。众所周知，大清立国之后，虽然制度上有不少因袭明代之处，但文化政策整体偏紧。

This was the case with books which studied phenomena to acquire knowledge , not to mention novels on prostitution and piracy. Still taking the translation and dissemination of "Jin Ping Mei" in Manchu as an example, we can know that. As we all know, after the establishment of the Qing Dynasty, although the system had inherited from that of the Ming Dynasty a lot, but the overall cultural policies were a little bit tight.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 09:27, 3 November 2021 (UTC)
The same is true of books about physical knowledge, not to mention novels about obscene deeds. --[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 15:01, 4 November 2021 (UTC)

==张秋怡 Zhāng Qiūyí 亚非语言文学女 202120081550==

康熙年间，由于皇帝热衷儒学，后又在汉官劝谏下将兴趣引导至理学方向，因而对君德圣学、政教纪纲等，尤为重视。康熙九年，圣祖颁布《圣训十六条》，强调教化为先，而非法令为亟，其中便对所谓“近见风俗日敝，人心不古”的情形进行训斥。为此，康熙帝敕令内、外文武各官，务必“敦孝弟以重人伦”，“黜异端以崇正学”，“明礼让以厚风俗”，要求他们“督率举行”。

During the reign of Kangxi, because the emperor was keen on Confucianism, he later guided his interest to the direction of Neo Confucianism under the advice of Han officials, so he paid special attention to the study of Jun De Sheng and the discipline of politics and religion. In the ninth year of Kangxi's reign, the emperor Shengzu promulgated the sixteen articles of the holy sermon, which emphasized the importance of education rather than laws and regulations. Among them, he reprimanded the so-called situation of "seeing that the customs are getting worse and the people's hearts are not ancient". Therefore, Emperor Kangxi decreed that civil and military officials at home and abroad must "respect human relations", "dethrone heretics to uphold righteousness", "Ming rites and concessions to thick customs", and asked them to "supervise the holding of meetings".--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 08:15, 3 November 2021 (UTC)

During the reign of Kangxi, as the emperor was keen on Confucianism, he later guided his interest to the direction of Neo Confucianism under the admonish of Han officials, so he paid special attention to the study of Jun De Sheng and the discipline of politics and religion. Under the ninth year of Kangxi's reign, the emperor Shengzu promulgated ''the sixteen articles of the holy sermon'', which emphasized the importance of education rather than laws and regulations. Among them, he reprimanded the so-called situation of "seeing that the customs are getting worse and the people's hearts are not conventional anymore". Therefore, Emperor Kangxi decreed that civil and military officials at home and abroad must "respect human relations", "dethrone heretics to uphold righteousness", "learn rites and concessions to enrich customs", and asked them to "supervise and take the lead".--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 14:41, 5 November 2021 (UTC)

==张扬 Zhāng Yáng 国别男 202120081551==

康熙三十九年，圣祖亲征塑漠蒙古凯旋，并在太学立碑，其中又强调“以文德化成天下”的重要。康熙四十一年，圣祖颁布《训饬士子文》，再次声明“隆重师儒”、“厘剔弊端”、“务期风教修明”。上述谕令皆发生在满译本《金瓶梅》成书之前，无疑会对后者产生重要影响。

In the 39th year under the reign of Kangxi, Shengzu went on an expedition to Mongolian desert by himself and made a triumphant return, erecting a monument in the Imperial College, on which also emphasized the importance of "conquering the world with cultural and moral uprightness". In year 41, Shengzu the emperor promulgated ''Xunchi Shiziwen'', declaring that "to grandly teach Confucianism", "to eliminate malpractices" and "to cultivate morality and wisdom". All the above decrees took place before the completion of the full translation of ''Jin Ping Mei'', which will undoubtedly have an important impact on the latter. --[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 13:46, 2 November 2021 (UTC)

In the 39th year under the reign of Kangxi, Shengzu went on an expedition to Mongolian desert by himself and made a triumphant return, erecting a monument in the Imperial College, on which also emphasized the importance of "conquering the world with cultural and moral uprightness". In the 41th year under the reign of Kangxi, Shengzu the emperor promulgated ''''Xunchi Shiziwen'''', declaring that "to grandly teach Confucianism", "to eliminate malpractices" and "to cultivate morality and wisdom". All the above decrees took place before the completion of the full translation of ''The Golden Lotus'' which will undoubtedly have an important impact on the latter.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 07:17, 3 November 2021 (UTC)

==张怡然 Zhāng Yírán 俄语语言文学女 202120081552==

康熙五十三年，上谕诸臣，指出“正人心”、“厚风俗”与“治天下”之间的关系，要求崇尚经学，严禁小说淫词。为此，朝臣奉旨议定条例，规定坊间一切小说淫词，务必悉数查绝，并将板片书籍予以销毁，违者从重治罪。在清廷严厉的禁书背景下，《金瓶梅》及其满文译本将会遭受何种命运，便不得而知。

In the fifty-third year of the Kangxi reign,an oracle was issued to all ministers，pointing out the relationship between “correcting the hearts of the people”，“thickening custom”and “ruling the world”，demanding that scripture be revered and that novels and obscene words be strictly forbidden. To this end,the imperial ministers were instructed to agree on regulations that all novels and obscene words must be eliminated from the streets and taht the books must be destroyed,and that offenders should be punished severely. Against the backdrop of the Qing court’s strict ban on books, it is not known what fate would befall ''The Golden Lotus'' and its Manchu translation.

In the fifty-third year of the Kangxi reign,an oracle was issued to all ministers，pointing out the relationship between “correcting people‘s minds”，“strengthening custom”and “ruling the empire”，demanding that scripture should be revered and novels and obscene words be strictly forbidden. So the imperial ministers were instructed to stipulate regulations that all novels and obscene words must be eliminated. And the books must be destroyed. All offenders should be punished severely. Against the backdrop of the Qing court’s strict ban on books, it is not known what fate would befall ''The Golden Lotus'' and its Manchu translation.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 14:56, 1 November 2021 (UTC)

==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学）女 202120081553==

自太祖朝以来，清初翻译汉文古典小说，皆以教化为主，而以文学性为次。统治者寄望于翻译的不是文学的审美作用，而是正确的价值观念和人伦纲纪思想。换言之，通过翻译，塑造道德，规范秩序，实现向善求真。

Since the Taizu Dynasty, the translation of Chinese classical novels in the early Qing Dynasty has mainly focused on enlightenment, partially on literariness. The rulers think that the purpose of translation is not for literary aesthetic，but for the establishing of correct values and ethics. In other words, through translation, we can shape morality, standardize order and realize the pursuit of goodness and truth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:56, 28 October 2021 (UTC)

Since the Taizu Dynasty, the translation of Chinese classical novels in the early Qing Dynasty has mainly focused on moralization, partially on literariness. The rulers hope that the purpose of translation is not for literary aesthetic，but for the establishment of correct values and ethics. In other words, through translation, we can shape morality, standardize order and realize the pursuit of goodness and truth.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:52, 30 October 2021 (UTC)

==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学）女 202120081554==

而《金瓶梅》的翻译显然不具备以上作用，它既不像《四书》、《五经》的翻译那样能够启迪心性，荡涤灵魂，又不像《三国演义》般能够探求兵略，维护社会稳定。虽然《金瓶梅》中过于露骨的文字描述使得它不适合翻刻、刊行，但其满文译本最终仍得以成书，并流传于世，其中原因固然有多种可能，但统治者的首肯或默许必是其中之一。如黄润华在《满文翻译小说述略》中所说，满译本《金瓶梅》的问世，不论其译者为谁，或和素，或徐元梦，必定是获得了特别的许可，因而才能译成满文并刊刻行世。

But the translation of Jin Ping Mei obviously does not have the above functions. It is not like the translation of the Four Books and the Five Classics that can enlighten people’s mind, or like the Romance of the Three Kingdoms that can explore strategies and maintain social stability. Although the explicit description of Jin Ping Mei makes it not suitable for translation or publication, its Manchu translation is eventually translated into a book and has spread throughout the world. There are many possible reasons for it, but the consent or acquiescence of the ruler must be one of them. As Huang Runhua said in A Brief Review of Manchu Translated Novels, the publication of the Manchu version of Jin Ping Mei, no matter who the translator is, He Su or Xu Yuanmeng, must have obtained special permission to be translated into Manchu and published in the world.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:42, 30 October 2021 (UTC)

But the translation of Jin Ping Mei obviously does not have the above functions. It is not like the translation of the Four Books and the Five Classics that can enlighten people’s mind and purify their souls, or like the Romance of the Three Kingdoms that can explore strategies and maintain social stability. Although the obscene description of Jin Ping Mei makes it not suitable for translation or publication, its Manchu translation is eventually translated into a book and has spread throughout the world. There are many possible reasons for it, but the consent or acquiescence of the ruler must be one of them. As Huang Runhua said in A Brief Review of Manchu Translated Novels, the publication of the Manchu version of Jin Ping Mei, no matter who the translator is, He Su or Xu Yuanmeng, must have obtained special permission to be translated into Manchu and published in the world.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:00, 31 October 2021 (UTC)

==周玖 Zhōu Jiǔ 英语语言文学（英美文学）女 202120081555==

也只有得到最高统治者的默允，才不致因为擅自翻译刊印而受到惩处。事实上，早在顺治九年，清廷即出台明令，严禁翻刻琐语淫词。康熙二年，圣祖重申此禁，对淫词小说的利害关系晓之以理。

Only being granted the permission of the supreme ruler, can they free away from punishment for translating and printing obscene novel without authorization. In fact, in the ninth year of the Sun Zhi Period, Qing government issued public proclamation to prohibit translating obscene words. In the second year of Kang Xi Period, the emperor Kang Xi reaffirmed this order, which enabled the public to know the dangers of obscene novels.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 05:24, 28 October 2021 (UTC)

Only being granted the permission of the supreme ruler, can they free away from punishment for translating and printing obscene novel without authorization. In fact, in the ninth year of the Shun Zhi Period, Qing government issued public proclamation to prohibit translating risque book. In the second year of Kang Xi Period, the emperor Kang Xi reaffirmed this injunction, which enabled the public to know the dangers of obscene novels.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:24, 29 December 2021 (UTC)

==周俊辉 Zhōu Jùnhuī 法语语言文学女 202120081556==

然而，由于大清入关之初，全国尚未完成一统，统治者的政策重心在于武力征伐和国家统一，为此便需要笼络人心，因而朝廷对于汉族小说及其翻译并未有多大偏见。昭梿在《啸亭杂录》中说，和素翻译绝精，由他所翻译的《金瓶梅》、《西厢记》等书广受好评，所谓“人皆争诵”，即可说明此点。康熙年间，虽然朝廷加大了对于淫词小说的禁毁，但大体而言，自顺治元年至康熙二十二年之间，由于朝廷文禁的重点在于政治倾向显著的作品，因而对于琐语淫词类小说的禁毁和惩处，影响较小。据石昌渝考证，清初小说中被朝廷查处论罪者，仅有两部，即《无声戏二集》和《续金瓶梅》。

However, at the time of the Qing dynasty's invasion, the whole country had not yet been unified, and the ruler's policy focus on military conquest and national unification, so the ruler needed to win the love of people. Therefore, the court did not have much prejudice against Han novels and their version of translation. In ''You pavilion miscellanea'' Zhao Lian said ''The Plum in the Golden Vase'','' Western chamber'' and other books translated by He’su were widely praised, reached the level of "everyone rushed to read", which can show Hesu’s superb translation level. During Kang-hee’s reign, the government strengthened the prohibition and destruction of the risque novel, but overall, from the first year of Shunzhi to Kangxi twenty-two years, due to the ban of imperial court was focused on political leanings remarkable work, the denial and punishment for the risque novel were mild. According to the Shi Changyu textual research, only two novels were prohibited and punished in early Qing Dynasty, which were ''Silent Drama 2'' and ''Sequel to the Plum in the Golden Vase''.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:23, 29 December 2021 (UTC)

However, at the beginning of Manchu entered the Shanhaiguan Pass, the unification of the whole country had not been completed, and the emperor focused on military expedition and national reunification. Therefore, the government did not have much prejudice against Han novels and their translation in order to win the supports of the people. In the The Miscellaneous Records of Xiaoting, Zhao zhe said that He Su was proficient in translation. His translations of Jin Ping Mei and the story of The West Chamber were widely praised. The so-called "everyone competes for recitation" can illustrate this point. During the Kangxi period, although the imperial court increased the prohibition and destruction of pornographic novels, generally speaking, from the first year of Shunzhi to the 22nd year of Kangxi, the imperial court focused on works with salient political tendencies. Accordingly, it had little impact on the prohibition and punishment of pornographic novels. According to Shi Changyu's research, there were only two novels in the early Qing Dynasty that were investigated and punished by the imperial court, namely, Silent Drama II and The Sequel to Jin Ping Mei.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 00:05, 31 October 2021 (UTC)--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 00:05, 31 October 2021 (UTC)

==周巧 Zhōu Qiǎo 英语语言文学（语言学）女 202120081557==

但需要指出的是，《续金瓶梅》之所以获罪，其原因不在于它续写《金瓶梅》人物在所谓“后世”中的混乱生活，而是因为它将满族的发祥地描写为人、兽同居同食的野蛮地。因而，清初之际，朝廷对于淫词小说的接受，以及对于小说创作的限制，整体上仍然较为宽松。而《金瓶梅》的翻译、成书乃是康熙朝中后期的事，此时的朝廷对于“端风俗、正人心”有了日益深刻的认识，因而不仅强化了思想控制，而且加强了对于小说翻译与小说创作的管制。

But what needs to be pointed out is that the reason why The Sequel of Jin Ping Mei was convicted is not because it continues the chaotic life of the characters in Jin Ping Mei in the so-called "later generations", but because it describes the birthplace of the Manchu as a barbaric place where people and animals live and eat together. However, at the beginning of the Qing Dynasty, the government 's acceptance of pornographic novels was relatively high and the restrictions on novel creation was still relatively loose on the whole. While the translation and completion of Jin Ping Mei was in the middle and late reign of Kangxi. At that time, the imperial court had an increasingly profound understanding of "stick to the customs and purify people's hearts", which not only strengthened the ideological control but the regulation of novel translation and creation.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:50, 28 October 2021 (UTC)

However, it should be pointed out that the reason why "Continued Jin Ping Mei" was convicted was not because it continued the chaotic life of the characters in "Jin Ping Mei" in the so-called "post generations", but because it described the birthplace of Manchu as the cohabitation of man and beast. The barbaric place of food. Therefore, at the beginning of the Qing Dynasty, the court's acceptance of pornographic novels and restrictions on novel creation were still relatively loose. The translation and completion of "Jin Ping Mei" was a matter of the middle and late Kangxi dynasty. At this time, the imperial court had a deeper and deeper understanding of "customs and morals", which not only strengthened ideological control, but also strengthened the translation and interpretation of novels. The control of novel creation.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:21, 1 November 2021 (UTC)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

至乾隆初年，《金瓶梅》与《水浒传》等书因为诲淫诲盗的原因，又被“久干例禁”。满洲政权兴起于白山黑水之间，在其一路开疆辟土，驰骋向前的过程中，虽然统治者反复高唱“满汉一体”，但相关的政治、文化实践表明，这一说法不过是政治口号。作为满清政权恪守不变的政策，“首崇满洲”既是统治者立法、行政的基本原则，又是统治者处理民族关系、民族事务的圭臬。

In the early years of Qianlong, books such as "Jin Ping Mei" and "Water Margin" were again banned for a long time, because of their Obscene. The Manchurian regime emerged between the white mountains and black waters. In the process of pioneering territory and galloping forward, although the rulers repeatedly sang "Man and Han as one unit", relevant political and cultural practices have shown that this statement is nothing more than a political slogan. As a policy that the Manchu government adhered to unchanged, "first advocating Manchuria" was not only the basic principle of the ruler's legislation and administration, but also the ruler's standard for handling ethnic relations and ethnic affairs.

In the early years of Qianlong, books such as "Jin Ping Mei" and "Water Margin" were again banned for a long time, because of their obscene and illegal content . The Manchurian regime emerged between the white mountains and black waters-- the landscape of northeast China. In the process of pioneering territory and galloping forward, although the rulers repeated"Man and Han as one unit", relevant political and cultural practices have shown that it was nothing more than a political slogan. As the policy that the Manchu government stick "Manchuria First " was not only the fundamental principle of the ruler's legislation and administration, but also the standard for handling ethnic relations and affairs.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 09:12, 1 November 2021 (UTC)

==周小雪 Zhōu Xiǎoxuě 日语语言文学女 202120081559==

终清一朝，统治者始终坚持满洲之道，固守满洲本位，崇尚满族特权，维护满洲的典章制度和文化特征。对统治者而言，传承与发展民族文化的重要性不言而喻，它不仅关系到国家政权的性质和满族民族的凝聚力与向心力，而且关系到满族统治集团的优势地位、特殊利益，乃至满族作为民族共同体的生死存亡。为此，满清政府不仅长期坚持“国语骑射”的基本国策，而且通过书籍的审查与禁毁等极端措施，确保满族文化符号和思想传统的专制。

In the Qing Dynasty, the rulers always adhered to the way of Manchu, insisted on Manchu standards, advocated Manchu privileges, and maintained Manchu institutions and cultural characteristics. For the rulers, the importance of inheriting and developing national culture was self-evident,which not only related to the Political Nature and the cohesion and solidarity of Manchu nation, but also related to the dominant position and special interests of Manchu ruling group, and even the survival of Manchu as a national community. Therefore, the Manchu government not only adhered to the basic state policy of "national language and ride" for a long time, but also ensured the despotism of Manchu cultural and ideological traditions by taking extreme measures such as censorship and prohibition of books.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 03:13, 29 October 2021 (UTC)

In the Qing Dynasty, the rulers always adhered to the way of Manchu, insisted on Manchu standards, advocated Manchu privileges,maintained Manchu ancient laws and regulations as well as cultural characteristics. For the rulers, the importance of inheriting and developing national culture was an understood thing,which not only related to the nature of the state power, the cohesion and solidarity of Manchu nation, but also related to the dominant position and special interests of Manchu ruling group, and even the survival of Manchu as a national community. Therefore, the Manchu government not only adhered to the basic state policy of "Mandarin Riding and Shooting" for a long time, but also ensured the despotism of Manchu culture symbol and ideological traditions by taking extreme measures such as censorship and prohibition of books.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 10:25, 5 November 2021 (UTC)

==朱素珍 Zhū Sùzhēn 英语语言文学（语言学）女 202120081561==

与此同时，统治者积极敕撰、敕译汉族书籍，虽然客观上吸收了汉族文化，但这些书籍的编纂与翻译亦如满洲文化的维护一样，只是满洲权贵巩固政权统治的策略与手段，一旦书籍的翻译与编纂有悖于统治者的主观期待，亦或是国家的统治之需，其审查与禁毁即在所难免。结语。作为除《三国演义》之外清初唯一刊印的汉文小说，《金瓶梅》的翻译与传播无疑离不开统治阶级的支持或者默认。

At the same time, the rulers actively wrote and translated Han books. Although objectively absorbing Han culture, the compilation and translation of these books are just like the maintenance of Manchu culture. They are only the strategies and means for Manchu dignitaries to consolidate their reign of power. Once the translation and compilation of books go against the subjective expectations of the rulers or the needs of the country's rule, its censorship and prohibition are inevitable. Conclusion. As the only Chinese novel published in the early Qing Dynasty, except The Romance of the Three Kingdoms, the translation and dissemination of The Golden Lotus are undoubtedly inseparable from the support or acquiescence of the ruling class.

At the same time, the rulers actively wrote and translated Han books. Although objectively absorbing Han culture, the compilation and translation of these books are just like the maintenance of Manchu culture. They are only the strategies and means for Manchu dignitaries to consolidate their political power. Once the translation and compilation of books go against the subjective expectations of the rulers or the needs of the country's rule, Its review and prohibition are inevitable. Conclusion. As the only Chinese novel published in the early Qing Dynasty except the romance of the Three Kingdoms, the translation and dissemination of JinPingMei is undoubtedly inseparable from the support or acquiescence of the ruling class.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 04:49, 7 November 2021 (UTC)

==邹岳丽 Zōu Yuèlí 日语语言文学女 202120081562==

《金瓶梅》满文译本的印行不仅说明清代禁书政策的失败，而且说明该政策的虚伪。一方面，所谓汉书的禁毁往往只是针对民间，而统治者尤其是国家君主则往往享有豁免。正如其它汉籍汉书的翻译一样，《金瓶梅》的翻译与刊刻不可能游走在国家法律和政府禁令之外。

The printing of the Manchu translation of 《JinPingMei》 not only shows the failure of the book ban policy in the Qing Dynasty, but also shows the hypocrisy of the policy. On the one hand, the so-called prohibition and destruction of the Han Dynasty is often only aimed at the people, while the rulers, especially the national monarchs, often enjoy immunity. Just like the translation of other Chinese books, the translation and publication of 《JinPingMei》 can not go beyond the national laws and government prohibitions.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:00, 7 December 2021 (UTC)

The publication of Manchu translation of ''The Golden Lotus'' indicates not only the failure of the Policy of Banned Books in the Qing Dynasty, but also the hypocrisy of the policy. On the one hand, the ban on Han Books is often only aimed at the people, while the rulers, especially the monarchs of the country, often enjoy immunity. Same as the translation of other Chinese books, the translation and publication of ''The Golden Lotus'' cannot exist outside national laws and government bans.

20211222 homework

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Cheng Yang: /* 程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482 */

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Cheng Yang: /* 陈心怡 Chén Xīnyí 翻译学女 202120081481 */

20211229 homework

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Cheng Yang: /* 程杨 Chéng Yáng 英语语言文学（英美文学）女 202120081482 */

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20211215 homework

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Cult Load Words EN 12

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=12 殷慧珍 A study on the English Translation of Culture-loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies =

殷慧珍 Yin Huizhen, Hunan Normal University, China

[[Cult_Load_Words_EN_12]]

===Abstract===
Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay classifies culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay analyzes the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and summarizes the translation of culture-loaded words based on domestication and foreignization strategies.

Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay will classify culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay will analyze the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and I will summarize the translation of culture-loaded words based on domestication and foreignization strategies.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 15:26, 15 December 2021 (UTC)

===Key Words===
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen

===题目===
归化异化策略下方华文《春节》中文化负载词的英译研究

===摘要===
文化负载词是指具有独特文化内涵的词语，是促进文化交流的强有力工具。由于东西方文化背景的巨大差异，文化负载词的翻译是一项艰巨的任务。因此，本文以方华文散文《春节》中的中国文化负载词的英译为研究对象，介绍了许多词汇关于中国习俗活动里蕴含的中国文化负载词。根据奈达的文化分类，本文将文化负载词分为生态文化负载词、物质文化负载词、社会文化负载词、宗教文化负载词和语言文化负载词。本文以韦努蒂提出的归化和异化翻译策略为基础，分析方华文的散文《春节》中文化负载词的翻译策略，总结出基于归化和异化策略的文化负载词翻译方法。

===关键词===
文化负载词《春节》归化与异化翻译策略方华文

===Introduction===
Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures and the main task of translation is to translate the content of the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of the Chinese nation, such as some idioms, sayings and idiomatic expressions, are difficult to translate. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing research. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of the activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand the profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.

Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier entity of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures, and the main task of translation is to translate the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of Chinese nation, such as idioms, sayings and idiomatic expressions, are difficult to translate it accurately. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing researches. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand more about our profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 15:35, 15 December 2021 (UTC)

===Fang Huawen and ''The Spring Festival''===
Fang Huawen was born in 1955, who is a famous Chinese literary translator and translation theorist. He plays an important role in literary translation in China and he was elected as a representative in the field of literary translation in China. He has translated many literary works such as ''Oliver Twist'' and ''David Copperfield'' written by Charles Dickens, ''Tess of the d'Urbervilles'' and ''Jude the Obscure'' written by Thomas Hardy, ''Jane Eyre'' and ''Pride and Prejudice'' written by Jane Austen and so on. Also, he wrote books of Chinese Culture of Editions Series such as ''Chinese Garden'', ''Chinese Folk Customs'', ''Famous Historical Cities in China'' and so on, which introduce Chinese culture in all areas. His representative translated work is ''History of Chinese Translation in the 20th Century'', which elaborately introduces the Chinsese Translation theories and translators, covering more than ten million words. His translated works have made great contributions to the spread of Chinese culture, and his translation views are well known both at home and abroad. He was named "the most productive literary translator in contemporary China” by the UNESCO International Federation of Translators and his translation theories were publish in ''Babel'', the academic journal of the International Federation of Translators, which enabled the world to know the general situation of Translation in China and the characteristics of translation.

In this essay, ''The Spring Festival'' is selected as the text of analysis, which is one of the prose collected in the book ''Translation and Appreciation of Chinese and Foreign Selected Famous Proses and Poems'', whose author is also Fang Huawen, selecting and translating famous Chinese and foreign proses and poetry. ''The Spring Festival'' is written by Fang Huawen and he selcets his own translation version in the book. The prose introduces the Spring Festival, the most important traditional festival of the China. The prose introduces the customs and activities of the Spring Festival in detail, which have been passed down from the ancient time. With the changes of the time, the words and customs have their own distinctiveness. Taking the traditional activity “post picture” as an example in the essay, Chinese people posted pictures of Shen Shu and Yu Lu with the wish of getting good luck and happiness in Nan Dynasty. While in Tang Dynasty, they posted the photos of Qin Shubao and Yuchi Jingde. If you don't know the cultural background of Chinese culture, you can hardly know the connotaion of the words. For example, the names of firecrackers are of various kinds, like "Rockets", "Rolling Mines", "Fairy Scattering Flowers", "Knights in Red" and so on. The author elaborately introduces all kinds of customs and activities from the first day of the first lunar month to the 15th day of the first lunar month, among which culture-loaded words are unique to Chinese culture, and the translation of these culture-loaded words will greatly promote the spread of Chinese culture.

===Culture and Culture-loaded Words===

====The Brief Introduction of Culture====
Compared with the economic and political field, culture refers to the spiritual activities of human beings and the products they produce. Culture is a set of customs, traditions and values formed by people living in a specific community over a long period of time, such as the culture of a nation or country. There are various cultures in the world, and each culture has its own characteristics, including its own ethnic values, such as religious belief, world outlook, etc. It also includes spiritual products produced by specific ethnic groups, such as some artistic and scientific spiritual products. Besides, the manners and behaviors of a nation such as folk customs, spirits and so on.

Chinese contemporary writer and scholar Yu Qiuyu gave a detailed interpretation of culture. He gave a definition of culture with a concise and simple sentence in ''What is Culture'', that is, culture is a kind of spiritual value and life style called habit, and its final result is collective personality. (Yu qiuyu 2012:3) The first key word is spiritual value, which means that culture is not only a cultural phenomenon, but also has cultural value. Therefore, it can be explained that culture is a spiritual symbol of human beings compared with the primitive state. The second key word is lifestyle. This is the concrete realization of spiritual value. In most cases, culture, it should be concrete and acessible. The third key word is collective personality. This shows that culture not only affects people, but also concentrates on personality precipitation to maintain some stability.
That is to say, the unique spiritual value and way of life developed by a particular nation is the culture of this nation, such as Confucianism, ancestral hall culture in Chinese culture and so on.

Specifically, Culture covers nearly all kinds of fields in social life. There are many classifications of culture from different perspectives. For example, from the geographical aspect, there are local culture and foreign culture, urban culture and rural culture, Eastern culture and Western culture and so on. Also, from the perspective of time, there are primitive culture, slavery culture, feudal culture, capitalist culture, socialist culture and so on. According to Nida, he divided culture into five categories in his book Language, Cultural and Translation:(1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) language culture. (Nida 1993: 91)

====The Brief Introduction of Culture-loaded Words====
Culture-loaded words refer to the words or phrases carrying the unique cultural connotations of a certain nation, which are different from other nations. Chinese scholar Hu Wenzhong defined culture-loaded words as follows: "Culture-loaded words are words within the scope of a specific culture, and are the direct and indirect reflection of national culture in the language vocabulary" (Hu Wenzhong 1999:64). When these culture-loaded words are translated into the target language, it is not easy to find corresponding words in the target language. Therefore, the wide use of culture-loaded words can transmit national cultural values and promote national communication.

Based on the classification of culture of Nida, culture-loaded words also can be divided into five catergories accordingly. The first is ecological culture-loaded words, which refer to the words that reflect the unique local ecology, such as climate, lgeomorphology, natural environment, mountains, rivers, vegetation and so on. Different geographical environments breed different cultures, such as the Chinese idiom “稳如泰山”, which translates into English as stable as Mount Tai, meaning as firm as a rock, "Mount Tai" is a unique ecological environment in China. Mount Tai is very majestic in the hearts of the Chinese people, and it is worshipped by the people and enjoys a high status. Therefore, people use this idiom to praise people as stable and unshakable as Mount Tai. For English phrase, "a big fish" is literally translated into Chinese “一条大鱼”, but in English culture, it means "Great man", because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.

The second is material culture-loaded words, which refer to words produced in daily life to meet the development of people's material life, that is, words with cultural connotations such as clothing, food and household goods that people need in daily life. In different cultures, people have different associations with different objects. For example, in Chinese culture, since the ancient time, people have divided the universe into five kinds of things, namely are Wood (木), Fire (火), Earth (土), Metal (金), and Water (水), and called them "Wu Xing(五行)"also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena.

The third social culture-loaded words refer to words that reflect various aspects of the society according to different social backgrounds, such as unique festivals, customs, local conditions and practices, as well as the way of address and greeting. For example, "aunt" in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.

The fourth religious culture-loaded words refer to some words related to religious beliefs and concepts, reflecting the influence of religion o.n people's lives. For example, Chinese culture is deeply influenced by Buddhism. Some common sayings contain the influence of Buddhism on people's life, such as the Chinese proverb "菩萨心肠"，which refers to the people with a great kind heart. Cram at the eleventh hour. "菩萨"is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.

The last one language culture-loaded words are the reflection of different languages characteristics in speech, lexical, syntax and other linguistic aspects, usually found in dialogue, ancient poetry and colloquialisms, idioms, and so on. Chinese sentences attach importance to the connection of meaning, and clauses are often connected by meaning, while English sentences are connected by connectives. For example, the famous Chinese proverb,"经得广，知得多"，the whole sentence is very concise, only with six words, and there is no conjunction to connect the sentence. However, the English translation cannot completely translate the format, but need to use a conjunction to connect the sentences in English grammar, that is if you experience more, you can know more things.

===Domestication and Foreignization Strategies===
Domestication and foreignization are two different translation strategies proposed by Venuti in ''The Translator's Invisibility A History of Translation'' from the perspective of culture in 1995. According to Venuti, Domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers.(Shulttleworth , Cowie 1997 : 43~ 44) This was based on the Germanphilosopher Schleiermacher's famous notion of the translation that don’t disturb the reader, as much as possible, and then lead the author towards the meaning that author want to convey. That is to say, using the tanslation strategie of domestication is to localize the translated text. And translator should first consider the target language readers but not the loyalty to the author. Therefore, when translating, the translator should choose the plain and familiar words and expressions in the target language that would not be a barrier to reading for readers, so that the translation can be read nativly and vividly but do not make the readers feel stiff or unfamiliar, and it would not be like a text has been translated but an original book. When translating, he also created many plots that cater to the public’s preferences, making the novel interesting and easy to understand. Because of the cultural differences between the East and the west, some specific words in the source language have no corresponding meanings in the target language. Therefore, especially when translating idioms and allusions, domestication is often used in order to maintain their unique simplicity and expressiveness. For example, cry up wine and sell vinegar(挂羊头卖狗肉)/ live a dog's life(过牛马一样的生活)/seek a hare in hen's nest（缘木求鱼）（Fang Mengzhi 2004: 3）

Foreignization refers to the translation strategy that a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Shulttleworth , Cowie 1997 : 58~ 59) Foreignization refers to the translation strategy that the translator first considers his loyalty to the author and the original text, so the translation will preserve the language characteristics and cultural customs of the original text. The use of foreignization translation strategy will not only make readers have "exotic" reading experience so as to help them better understand cultural differences，at the same time，it also enrich the target language. Many foreign words and expressions have been well integrated into the target language and used in people's daily life. The example of foreignization in Fang Mengzhi's a dictionary of translation studies, such as "time is money", comes from the foreignization of "time is money" in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）

Domestication and foreignization are indispensable translation methods in cross-cultural translation. Domestication can invisibly introduce foreign cultural ideas into the country without causing exotic reading experience or bringing reading barriers to target language readers, thus increasing the readability of the text. However, with the advent of globalization, blindly domesticating other languages is a way of showing ethnocentrism, which is actually a kind of cultural aggression of other country. Venuti believes that the domestication is to use smooth translation strategy to hide the domestication in the transparency of the translation. This is not a cultural exchange but an act of culuture violence under the cover of domestication strategy with ethnocentric ideas, that is, tampering and cultural appropriation. (Fang Mengzhi 2004: 96）Therefore, foreignization has become an increasingly important translation strategy in the process of translation. For culture-loaded words, adopting foreignization translation strategy can not only accurately express the meaning of the sentence, but also promote the spread of Chinese culture, so as to promote the mutual understanding and communication between the East and the West. Therefore, foreignization is gradually accepted by people and more widely used in the world.

===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===
The prose ''The Spring Festival'' contains many traditional Chinese festival culture-loaded words such as poems, idioms, proverb and so on, so in the process of translation, appropriate methods and strategies should be selected. For these Chinese culture-loaded words, the English translation is not completely corresponding to the original text. For example, some Chinese culture-loaded words have Chinese cultural connotations but are not reflected in the translation, and the sentence format in the original text is not completely corresponding in the translation. Based on the classification of culture-loaded words mentioned above, this essay analyzes the ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words in Fang Huawen's ''The Spring Festival'' on the theoretical basis of domestication and foreignization translation strategies.

====Ecological Culture-loaded Words====
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words "火树银花" to describe the scene of the Lantern Festival with bright lights. Literally, "火树" means the fire trees, "银花" means the silver flowers. If the translator uses the foreignization translation strategy to transliterate the sentence, the foreign readers who don't know the Chinese culture may not understand the meaning of the sentence, and will be confused. This is not a tree or flower, but a scene of bright lights. Therefore, the translator adopts the domestication translation strategy and translates it into "fireworks and laterns were everywhere to be seen", "火树" refer to the trees are covered with colorful lights, and "银花" refer to brightly lit scene.

====Material Culture-loaded Words====
Material culture-loaded words refer to some words used for material production, such as medicinal wine, units of weights and measures mentioned in the prose.

Example 1: "爆竹声中一岁除，春风送暖入屠苏。"

Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.

The sentence quoted the famous poem New Year's Day by Song Dynasty poet Wang Anshi, which depicted a lively scene during the Spring Festival. The word "Tusu"(屠苏) has great cultural connotation. "Tusu" is a kind of medicinal wine, called Tusu wine. According to Chinese legend, Tusu wine was first invented by hua Tuo, a famous doctor in the Eastern Han Dynasty. It is generally drunk on the first day of the first month, which plays a role in strengthening the body and defeating diseases. Therefore, drinking it on the first day of the New Year also conveys people's best wishes for the New Year that everyone can stay away from diseases and be healthy. It implied a wish, just as people in the western culture also toast on festivals, so the translator replaced the literal translation of Tusu with the familiar word toasting.

Example 2: 曾架起一座二十丈的灯山。

Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.

In the sentence, "二十丈", that is twenty Zhang. Zhang is a unit of length used in ancient China. The use of Chinese length units has evolved with the changes of history. The units of measurement are closely related to life, they have appeared since the beginning of human beings. The primitive people used fingers as inches, palms as feet, and stretching elbows as feet. Then Qin Shihuang unified the measurement and till now the appearance of modern measurement technology today, the evolution of ancient measurement system reflects the changes of history. In English, there is no length unit of Zhang. Therefore the translator used the domestication translation strategy that converted 20 Zhang into 70 meters.

====Social Culture-loaded Words====
The use of social culture-loaded words reflects the specific social background of the certain period. For example, the appellation or title of people is a significant part of social culture-loaded words. In this prose, the titles of the two ancient emperors "汉武帝" and "唐睿宗" are mentioned. The translator's translation of the ruler is as follows:

Example 1：自从汉武帝以来...。

Ever since the Emperor Wu's Reign of Han Dynasty.

Example 2：唐睿宗时，长安的皇宫外庆贺元宵节

During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.

In Chinese history, from the Han Dynasty to the Sui Dynasty, the posthumous title of the emperor is generally used, which summarized the deeds and morality of the deceased. For example, Emperor Wu of the Han Dynasty, whose posthumous title is "Wu", praised the moral character of Emperor Wu of the Han Dynasty. From the Tang and Song Dynasties to the Yuan Dynasty, the temple name of the emperor was used as the appellation. Temple name is the name given by later generations when they worship in the temple after the death of the ancient emperor. For example, the temple name of the founding emperor is Gaozu or Taizu, such as song Taizu. For the successor, the last word is always Zong, which means to maintain the achievements of the predecessors. For example, Tang Ruizong's temple name is "Rui", which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title "Wu" of Emperor Wu of the Han Dynasty and the temple name "Rui" of Ruizong of the Tang Dynasty. Although the title of emperor is different from that of Di and Zong in Chinese, translator all uses the word emperor.

Example 3: 其外形有"哪吒闹海""孙悟空""猪八戒"和"沙僧"。

Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing.

The words in historical allusions and legends have great social and cultural connotation. "哪吒闹海"is an ancient Chinese legend."孙悟空", "猪八戒" and "沙僧" are main characters in Journey to the West, one of China's four greatest master pieces. Chinese people have watched TV dramas or books about these characters since childhood, so they are familiar with them. However, for foreign readers, they are not familiar with these characters or plots, so it may perplex them if you don't explain the culture background here. The translator adopted the foreignization translation strategy to directly translate "孙悟空" into "Na Zha's adventure in the East Sea", "孙悟空"into the well-known Monkey King, "猪八戒" into Pigsy, and "沙僧" into his name Sha Wujing. Literal translation may confuse readers who do not understand these legends and stories, so notes can be added, that is, Nazha (a divine warrior in Chinese mythology). And Monkey King, Pigsy, Sha Wujing (main characters in Chinese classics pilgrimage to the West).

====Regilious Culture-loaded Words====
Example 1：死后玉皇大帝封他为"斩祟将军"

And was appointed "ghost-killler general" by God of all gods after his death.

In the translation, the translator uses domestication translation theory to translate "玉皇大帝" into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and "玉皇大帝" is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, "玉皇大帝" also governs the affairs of the universe. People regard "玉皇大帝" as the "emperor" in heaven, the supreme ruler of the world of all gods.
In western culture, religions are numerous and varied. Ancient Greece is the land of pantheism, the ancient Greeks advocated many gods. Zeus is regarded as God of all gods and the supreme ruler of the gods in the Greek mythology. Several popular Western religions, such as Christianity, Judaism and Islam are monotheism, holding the belief that God is the only creator of the world. God is conceived of as the Supreme Being and principal object of faith. So the use of domestication can not only express the same meaning of the sentence, but also adapt to the religious culture in the west.

Example 2: 旧岁的最后一天叫"大年三十”，因"除旧岁”而得名除夕。

Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.

The phrase "旧岁”, "岁”is not only refers to the age, but also means year. "旧岁" refers to the past year. The last day of the year, called "岁除", and the night of the day is called "除夕". 除夕, the original meaning of "New Year's Eve", refers to the end of the year to usher in the new. New Year's Eve is a time for family reunion. Like Tomb-sweeping Day, Ghost Festival and the Double Ninth Festival, New Year’s Eve is a traditional Chinese festival for ancestor worship. This sentence uses the combination of domestication and foreignization. The use of foreignization preserves the cultural image and promotes the culture exchange.

====Language Culture-loaded Words====
Chinese idioms usually contain the essence of language and have Chinese characteristics. Many of them use figures of speech such as metaphor. A metaphor is a comparison of something you want to say with something that has similar characteristics. In idioms, metaphors are used to describe the characteristics of something to make it vivid, so as to trigger the association of readers. The idiom in the prose like "像箭一般冲出去了", means that the children rush out quickly, but also shows that the children eager to go outside. In Chinese culture, the arrow(箭) is often used to describe high speed. For example, the idiom "离弦之箭" is used to describe high speed. "离弦之箭" refers to Time flies quikly. But there is no equivalent like arrow in English. In English, words like "bullet" or "cheetah" or "rocket ship" are used for things that are fast. Therefore, in order for readers to better understand the meaning of the sentence, the translator uses the domestication method to paraphrase as "dash out", "dash" is an act of running or moving very quickly or hastily, Although the cultural connotation of the source language is sacrificed in this way, the translator faithfully expresses the meaning of the source language.

===Conclusion===
This essay finds that the prose includes plenty of culture-loaded words, which contains extensive and profound meaning about traditional Chinese culture and customs. This essay introduces the Spring Festival, the most important traditional festival in China, as well as various activities prepared by Chinese people for the Festival and customs they adhere to, which largely spread Chinese culture, promote cultural exchanges in the world, and greatly enhancing the strength of Chinese culture. For this essay, using Fang Huawen's translation text as the analysis object, analyze the translation strategies of translator used about different kinds of culture-loaded words, that is, ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. According to Venuti's translation theory, he advocates that translators should more use foreignization to preserve the cultural connotation of the source language. However, the translator Fang Huawen adopts the domestication translation strategy more frequently, choosing the cultural images familiar to the target language readers in order to resonate with the target language readers and make the target language readers get roughly the same reading effect like the source language readers. At the smae time, culture-loaded words have complex cultural images, if the target language readers do not understand the cultural connotation behind the words, they will not be able to get the real meaning of the text, and may even misunderstand the text mistakenly. When using domestication strategies, translators most commonly use free translation, in which they replace culture-loaded words in the original text with words and expressions more familiar to the target language readers, so as to improve the readability of the translated text and reduce readers' reading barriers. For example he translates the character of Chinese legend "玉皇大帝”into"God of the gods”that are more familiar to the target language readers. However, with the development of globalization, foreignization is increasingly used in translation. When the translator encountered some characteristic culture-loaded words, he chose literal translation, such as "Danianshanshi". Although the translator uses foreignization translation strategy to bring strangeness to the target language readers, it not only retains the traditional image of Chinese culture, but also meets the needs of cultural communication in the world. Foreignization can not only express the meaning of the source language, but also retain the characteristics of the national language. Domestication and foreignization are interactive and not completely opposite. Translators can combine foreignization and domestication in translating culture-loaded words. When translating culture-loaded words, the translator can not only use foreignization translation strategy to retain the cultural image and language connotation of the original text, but also use domestication translation strategy to make the translated text easy to understand and readable.

===References===

Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.

Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.

Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&Newyork:Routledge.

Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese& Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science & Technology Press.

Fang Mengzhi 方梦之(2011). 中国译学大辞典''The Dictionary of Translation Studies in China'' [M]. 上海：上海外语教育出版社 Shanghai: Shanghai Foreign Language Education Press.

Yu Qiuyu 余秋雨(2012). 何谓文化''What is Culture'' [M]. 武汉：长江文艺出版社 Wuhan: Changjiang Literature and Art Press.

Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)

Cult Load Words EN 12

2021-12-15T15:26:24Z

Cheng Yang: /* Abstract */

=12 殷慧珍 A study on the English Translation of Culture-loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies =

殷慧珍 Yin Huizhen, Hunan Normal University, China

[[Cult_Load_Words_EN_12]]

===Abstract===
Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay classifies culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay analyzes the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and summarizes the translation of culture-loaded words based on domestication and foreignization strategies.

Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay will classify culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay will analyze the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and I will summarize the translation of culture-loaded words based on domestication and foreignization strategies.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 15:26, 15 December 2021 (UTC)

===Key Words===
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen

===题目===
归化异化策略下方华文《春节》中文化负载词的英译研究

===摘要===
文化负载词是指具有独特文化内涵的词语，是促进文化交流的强有力工具。由于东西方文化背景的巨大差异，文化负载词的翻译是一项艰巨的任务。因此，本文以方华文散文《春节》中的中国文化负载词的英译为研究对象，介绍了许多词汇关于中国习俗活动里蕴含的中国文化负载词。根据奈达的文化分类，本文将文化负载词分为生态文化负载词、物质文化负载词、社会文化负载词、宗教文化负载词和语言文化负载词。本文以韦努蒂提出的归化和异化翻译策略为基础，分析方华文的散文《春节》中文化负载词的翻译策略，总结出基于归化和异化策略的文化负载词翻译方法。

===关键词===
文化负载词《春节》归化与异化翻译策略方华文

===Introduction===
Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures and the main task of translation is to translate the content of the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of the Chinese nation, such as some idioms, sayings and idiomatic expressions, are difficult to translate. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing research. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of the activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand the profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.

===Fang Huawen and ''The Spring Festival''===
Fang Huawen was born in 1955, who is a famous Chinese literary translator and translation theorist. He plays an important role in literary translation in China and he was elected as a representative in the field of literary translation in China. He has translated many literary works such as ''Oliver Twist'' and ''David Copperfield'' written by Charles Dickens, ''Tess of the d'Urbervilles'' and ''Jude the Obscure'' written by Thomas Hardy, ''Jane Eyre'' and ''Pride and Prejudice'' written by Jane Austen and so on. Also, he wrote books of Chinese Culture of Editions Series such as ''Chinese Garden'', ''Chinese Folk Customs'', ''Famous Historical Cities in China'' and so on, which introduce Chinese culture in all areas. His representative translated work is ''History of Chinese Translation in the 20th Century'', which elaborately introduces the Chinsese Translation theories and translators, covering more than ten million words. His translated works have made great contributions to the spread of Chinese culture, and his translation views are well known both at home and abroad. He was named "the most productive literary translator in contemporary China” by the UNESCO International Federation of Translators and his translation theories were publish in ''Babel'', the academic journal of the International Federation of Translators, which enabled the world to know the general situation of Translation in China and the characteristics of translation.

In this essay, ''The Spring Festival'' is selected as the text of analysis, which is one of the prose collected in the book ''Translation and Appreciation of Chinese and Foreign Selected Famous Proses and Poems'', whose author is also Fang Huawen, selecting and translating famous Chinese and foreign proses and poetry. ''The Spring Festival'' is written by Fang Huawen and he selcets his own translation version in the book. The prose introduces the Spring Festival, the most important traditional festival of the China. The prose introduces the customs and activities of the Spring Festival in detail, which have been passed down from the ancient time. With the changes of the time, the words and customs have their own distinctiveness. Taking the traditional activity “post picture” as an example in the essay, Chinese people posted pictures of Shen Shu and Yu Lu with the wish of getting good luck and happiness in Nan Dynasty. While in Tang Dynasty, they posted the photos of Qin Shubao and Yuchi Jingde. If you don't know the cultural background of Chinese culture, you can hardly know the connotaion of the words. For example, the names of firecrackers are of various kinds, like "Rockets", "Rolling Mines", "Fairy Scattering Flowers", "Knights in Red" and so on. The author elaborately introduces all kinds of customs and activities from the first day of the first lunar month to the 15th day of the first lunar month, among which culture-loaded words are unique to Chinese culture, and the translation of these culture-loaded words will greatly promote the spread of Chinese culture.

===Culture and Culture-loaded Words===

====The Brief Introduction of Culture====
Compared with the economic and political field, culture refers to the spiritual activities of human beings and the products they produce. Culture is a set of customs, traditions and values formed by people living in a specific community over a long period of time, such as the culture of a nation or country. There are various cultures in the world, and each culture has its own characteristics, including its own ethnic values, such as religious belief, world outlook, etc. It also includes spiritual products produced by specific ethnic groups, such as some artistic and scientific spiritual products. Besides, the manners and behaviors of a nation such as folk customs, spirits and so on.

Chinese contemporary writer and scholar Yu Qiuyu gave a detailed interpretation of culture. He gave a definition of culture with a concise and simple sentence in ''What is Culture'', that is, culture is a kind of spiritual value and life style called habit, and its final result is collective personality. (Yu qiuyu 2012:3) The first key word is spiritual value, which means that culture is not only a cultural phenomenon, but also has cultural value. Therefore, it can be explained that culture is a spiritual symbol of human beings compared with the primitive state. The second key word is lifestyle. This is the concrete realization of spiritual value. In most cases, culture, it should be concrete and acessible. The third key word is collective personality. This shows that culture not only affects people, but also concentrates on personality precipitation to maintain some stability.
That is to say, the unique spiritual value and way of life developed by a particular nation is the culture of this nation, such as Confucianism, ancestral hall culture in Chinese culture and so on.

Specifically, Culture covers nearly all kinds of fields in social life. There are many classifications of culture from different perspectives. For example, from the geographical aspect, there are local culture and foreign culture, urban culture and rural culture, Eastern culture and Western culture and so on. Also, from the perspective of time, there are primitive culture, slavery culture, feudal culture, capitalist culture, socialist culture and so on. According to Nida, he divided culture into five categories in his book Language, Cultural and Translation:(1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) language culture. (Nida 1993: 91)

====The Brief Introduction of Culture-loaded Words====
Culture-loaded words refer to the words or phrases carrying the unique cultural connotations of a certain nation, which are different from other nations. Chinese scholar Hu Wenzhong defined culture-loaded words as follows: "Culture-loaded words are words within the scope of a specific culture, and are the direct and indirect reflection of national culture in the language vocabulary" (Hu Wenzhong 1999:64). When these culture-loaded words are translated into the target language, it is not easy to find corresponding words in the target language. Therefore, the wide use of culture-loaded words can transmit national cultural values and promote national communication.

Based on the classification of culture of Nida, culture-loaded words also can be divided into five catergories accordingly. The first is ecological culture-loaded words, which refer to the words that reflect the unique local ecology, such as climate, lgeomorphology, natural environment, mountains, rivers, vegetation and so on. Different geographical environments breed different cultures, such as the Chinese idiom “稳如泰山”, which translates into English as stable as Mount Tai, meaning as firm as a rock, "Mount Tai" is a unique ecological environment in China. Mount Tai is very majestic in the hearts of the Chinese people, and it is worshipped by the people and enjoys a high status. Therefore, people use this idiom to praise people as stable and unshakable as Mount Tai. For English phrase, "a big fish" is literally translated into Chinese “一条大鱼”, but in English culture, it means "Great man", because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.

The second is material culture-loaded words, which refer to words produced in daily life to meet the development of people's material life, that is, words with cultural connotations such as clothing, food and household goods that people need in daily life. In different cultures, people have different associations with different objects. For example, in Chinese culture, since the ancient time, people have divided the universe into five kinds of things, namely are Wood (木), Fire (火), Earth (土), Metal (金), and Water (水), and called them "Wu Xing(五行)"also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena.

The third social culture-loaded words refer to words that reflect various aspects of the society according to different social backgrounds, such as unique festivals, customs, local conditions and practices, as well as the way of address and greeting. For example, "aunt" in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.

The fourth religious culture-loaded words refer to some words related to religious beliefs and concepts, reflecting the influence of religion o.n people's lives. For example, Chinese culture is deeply influenced by Buddhism. Some common sayings contain the influence of Buddhism on people's life, such as the Chinese proverb "菩萨心肠"，which refers to the people with a great kind heart. Cram at the eleventh hour. "菩萨"is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.

The last one language culture-loaded words are the reflection of different languages characteristics in speech, lexical, syntax and other linguistic aspects, usually found in dialogue, ancient poetry and colloquialisms, idioms, and so on. Chinese sentences attach importance to the connection of meaning, and clauses are often connected by meaning, while English sentences are connected by connectives. For example, the famous Chinese proverb,"经得广，知得多"，the whole sentence is very concise, only with six words, and there is no conjunction to connect the sentence. However, the English translation cannot completely translate the format, but need to use a conjunction to connect the sentences in English grammar, that is if you experience more, you can know more things.

===Domestication and Foreignization Strategies===
Domestication and foreignization are two different translation strategies proposed by Venuti in ''The Translator's Invisibility A History of Translation'' from the perspective of culture in 1995. According to Venuti, Domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers.(Shulttleworth , Cowie 1997 : 43~ 44) This was based on the Germanphilosopher Schleiermacher's famous notion of the translation that don’t disturb the reader, as much as possible, and then lead the author towards the meaning that author want to convey. That is to say, using the tanslation strategie of domestication is to localize the translated text. And translator should first consider the target language readers but not the loyalty to the author. Therefore, when translating, the translator should choose the plain and familiar words and expressions in the target language that would not be a barrier to reading for readers, so that the translation can be read nativly and vividly but do not make the readers feel stiff or unfamiliar, and it would not be like a text has been translated but an original book. When translating, he also created many plots that cater to the public’s preferences, making the novel interesting and easy to understand. Because of the cultural differences between the East and the west, some specific words in the source language have no corresponding meanings in the target language. Therefore, especially when translating idioms and allusions, domestication is often used in order to maintain their unique simplicity and expressiveness. For example, cry up wine and sell vinegar(挂羊头卖狗肉)/ live a dog's life(过牛马一样的生活)/seek a hare in hen's nest（缘木求鱼）（Fang Mengzhi 2004: 3）

Foreignization refers to the translation strategy that a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Shulttleworth , Cowie 1997 : 58~ 59) Foreignization refers to the translation strategy that the translator first considers his loyalty to the author and the original text, so the translation will preserve the language characteristics and cultural customs of the original text. The use of foreignization translation strategy will not only make readers have "exotic" reading experience so as to help them better understand cultural differences，at the same time，it also enrich the target language. Many foreign words and expressions have been well integrated into the target language and used in people's daily life. The example of foreignization in Fang Mengzhi's a dictionary of translation studies, such as "time is money", comes from the foreignization of "time is money" in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）

Domestication and foreignization are indispensable translation methods in cross-cultural translation. Domestication can invisibly introduce foreign cultural ideas into the country without causing exotic reading experience or bringing reading barriers to target language readers, thus increasing the readability of the text. However, with the advent of globalization, blindly domesticating other languages is a way of showing ethnocentrism, which is actually a kind of cultural aggression of other country. Venuti believes that the domestication is to use smooth translation strategy to hide the domestication in the transparency of the translation. This is not a cultural exchange but an act of culuture violence under the cover of domestication strategy with ethnocentric ideas, that is, tampering and cultural appropriation. (Fang Mengzhi 2004: 96）Therefore, foreignization has become an increasingly important translation strategy in the process of translation. For culture-loaded words, adopting foreignization translation strategy can not only accurately express the meaning of the sentence, but also promote the spread of Chinese culture, so as to promote the mutual understanding and communication between the East and the West. Therefore, foreignization is gradually accepted by people and more widely used in the world.

===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===
The prose ''The Spring Festival'' contains many traditional Chinese festival culture-loaded words such as poems, idioms, proverb and so on, so in the process of translation, appropriate methods and strategies should be selected. For these Chinese culture-loaded words, the English translation is not completely corresponding to the original text. For example, some Chinese culture-loaded words have Chinese cultural connotations but are not reflected in the translation, and the sentence format in the original text is not completely corresponding in the translation. Based on the classification of culture-loaded words mentioned above, this essay analyzes the ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words in Fang Huawen's ''The Spring Festival'' on the theoretical basis of domestication and foreignization translation strategies.

====Ecological Culture-loaded Words====
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words "火树银花" to describe the scene of the Lantern Festival with bright lights. Literally, "火树" means the fire trees, "银花" means the silver flowers. If the translator uses the foreignization translation strategy to transliterate the sentence, the foreign readers who don't know the Chinese culture may not understand the meaning of the sentence, and will be confused. This is not a tree or flower, but a scene of bright lights. Therefore, the translator adopts the domestication translation strategy and translates it into "fireworks and laterns were everywhere to be seen", "火树" refer to the trees are covered with colorful lights, and "银花" refer to brightly lit scene.

====Material Culture-loaded Words====
Material culture-loaded words refer to some words used for material production, such as medicinal wine, units of weights and measures mentioned in the prose.

Example 1: "爆竹声中一岁除，春风送暖入屠苏。"

Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.

The sentence quoted the famous poem New Year's Day by Song Dynasty poet Wang Anshi, which depicted a lively scene during the Spring Festival. The word "Tusu"(屠苏) has great cultural connotation. "Tusu" is a kind of medicinal wine, called Tusu wine. According to Chinese legend, Tusu wine was first invented by hua Tuo, a famous doctor in the Eastern Han Dynasty. It is generally drunk on the first day of the first month, which plays a role in strengthening the body and defeating diseases. Therefore, drinking it on the first day of the New Year also conveys people's best wishes for the New Year that everyone can stay away from diseases and be healthy. It implied a wish, just as people in the western culture also toast on festivals, so the translator replaced the literal translation of Tusu with the familiar word toasting.

Example 2: 曾架起一座二十丈的灯山。

Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.

In the sentence, "二十丈", that is twenty Zhang. Zhang is a unit of length used in ancient China. The use of Chinese length units has evolved with the changes of history. The units of measurement are closely related to life, they have appeared since the beginning of human beings. The primitive people used fingers as inches, palms as feet, and stretching elbows as feet. Then Qin Shihuang unified the measurement and till now the appearance of modern measurement technology today, the evolution of ancient measurement system reflects the changes of history. In English, there is no length unit of Zhang. Therefore the translator used the domestication translation strategy that converted 20 Zhang into 70 meters.

====Social Culture-loaded Words====
The use of social culture-loaded words reflects the specific social background of the certain period. For example, the appellation or title of people is a significant part of social culture-loaded words. In this prose, the titles of the two ancient emperors "汉武帝" and "唐睿宗" are mentioned. The translator's translation of the ruler is as follows:

Example 1：自从汉武帝以来...。

Ever since the Emperor Wu's Reign of Han Dynasty.

Example 2：唐睿宗时，长安的皇宫外庆贺元宵节

During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.

In Chinese history, from the Han Dynasty to the Sui Dynasty, the posthumous title of the emperor is generally used, which summarized the deeds and morality of the deceased. For example, Emperor Wu of the Han Dynasty, whose posthumous title is "Wu", praised the moral character of Emperor Wu of the Han Dynasty. From the Tang and Song Dynasties to the Yuan Dynasty, the temple name of the emperor was used as the appellation. Temple name is the name given by later generations when they worship in the temple after the death of the ancient emperor. For example, the temple name of the founding emperor is Gaozu or Taizu, such as song Taizu. For the successor, the last word is always Zong, which means to maintain the achievements of the predecessors. For example, Tang Ruizong's temple name is "Rui", which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title "Wu" of Emperor Wu of the Han Dynasty and the temple name "Rui" of Ruizong of the Tang Dynasty. Although the title of emperor is different from that of Di and Zong in Chinese, translator all uses the word emperor.

Example 3: 其外形有"哪吒闹海""孙悟空""猪八戒"和"沙僧"。

Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing.

The words in historical allusions and legends have great social and cultural connotation. "哪吒闹海"is an ancient Chinese legend."孙悟空", "猪八戒" and "沙僧" are main characters in Journey to the West, one of China's four greatest master pieces. Chinese people have watched TV dramas or books about these characters since childhood, so they are familiar with them. However, for foreign readers, they are not familiar with these characters or plots, so it may perplex them if you don't explain the culture background here. The translator adopted the foreignization translation strategy to directly translate "孙悟空" into "Na Zha's adventure in the East Sea", "孙悟空"into the well-known Monkey King, "猪八戒" into Pigsy, and "沙僧" into his name Sha Wujing. Literal translation may confuse readers who do not understand these legends and stories, so notes can be added, that is, Nazha (a divine warrior in Chinese mythology). And Monkey King, Pigsy, Sha Wujing (main characters in Chinese classics pilgrimage to the West).

====Regilious Culture-loaded Words====
Example 1：死后玉皇大帝封他为"斩祟将军"

And was appointed "ghost-killler general" by God of all gods after his death.

In the translation, the translator uses domestication translation theory to translate "玉皇大帝" into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and "玉皇大帝" is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, "玉皇大帝" also governs the affairs of the universe. People regard "玉皇大帝" as the "emperor" in heaven, the supreme ruler of the world of all gods.
In western culture, religions are numerous and varied. Ancient Greece is the land of pantheism, the ancient Greeks advocated many gods. Zeus is regarded as God of all gods and the supreme ruler of the gods in the Greek mythology. Several popular Western religions, such as Christianity, Judaism and Islam are monotheism, holding the belief that God is the only creator of the world. God is conceived of as the Supreme Being and principal object of faith. So the use of domestication can not only express the same meaning of the sentence, but also adapt to the religious culture in the west.

Example 2: 旧岁的最后一天叫"大年三十”，因"除旧岁”而得名除夕。

Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.

The phrase "旧岁”, "岁”is not only refers to the age, but also means year. "旧岁" refers to the past year. The last day of the year, called "岁除", and the night of the day is called "除夕". 除夕, the original meaning of "New Year's Eve", refers to the end of the year to usher in the new. New Year's Eve is a time for family reunion. Like Tomb-sweeping Day, Ghost Festival and the Double Ninth Festival, New Year’s Eve is a traditional Chinese festival for ancestor worship. This sentence uses the combination of domestication and foreignization. The use of foreignization preserves the cultural image and promotes the culture exchange.

====Language Culture-loaded Words====
Chinese idioms usually contain the essence of language and have Chinese characteristics. Many of them use figures of speech such as metaphor. A metaphor is a comparison of something you want to say with something that has similar characteristics. In idioms, metaphors are used to describe the characteristics of something to make it vivid, so as to trigger the association of readers. The idiom in the prose like "像箭一般冲出去了", means that the children rush out quickly, but also shows that the children eager to go outside. In Chinese culture, the arrow(箭) is often used to describe high speed. For example, the idiom "离弦之箭" is used to describe high speed. "离弦之箭" refers to Time flies quikly. But there is no equivalent like arrow in English. In English, words like "bullet" or "cheetah" or "rocket ship" are used for things that are fast. Therefore, in order for readers to better understand the meaning of the sentence, the translator uses the domestication method to paraphrase as "dash out", "dash" is an act of running or moving very quickly or hastily, Although the cultural connotation of the source language is sacrificed in this way, the translator faithfully expresses the meaning of the source language.

===Conclusion===
This essay finds that the prose includes plenty of culture-loaded words, which contains extensive and profound meaning about traditional Chinese culture and customs. This essay introduces the Spring Festival, the most important traditional festival in China, as well as various activities prepared by Chinese people for the Festival and customs they adhere to, which largely spread Chinese culture, promote cultural exchanges in the world, and greatly enhancing the strength of Chinese culture. For this essay, using Fang Huawen's translation text as the analysis object, analyze the translation strategies of translator used about different kinds of culture-loaded words, that is, ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. According to Venuti's translation theory, he advocates that translators should more use foreignization to preserve the cultural connotation of the source language. However, the translator Fang Huawen adopts the domestication translation strategy more frequently, choosing the cultural images familiar to the target language readers in order to resonate with the target language readers and make the target language readers get roughly the same reading effect like the source language readers. At the smae time, culture-loaded words have complex cultural images, if the target language readers do not understand the cultural connotation behind the words, they will not be able to get the real meaning of the text, and may even misunderstand the text mistakenly. When using domestication strategies, translators most commonly use free translation, in which they replace culture-loaded words in the original text with words and expressions more familiar to the target language readers, so as to improve the readability of the translated text and reduce readers' reading barriers. For example he translates the character of Chinese legend "玉皇大帝”into"God of the gods”that are more familiar to the target language readers. However, with the development of globalization, foreignization is increasingly used in translation. When the translator encountered some characteristic culture-loaded words, he chose literal translation, such as "Danianshanshi". Although the translator uses foreignization translation strategy to bring strangeness to the target language readers, it not only retains the traditional image of Chinese culture, but also meets the needs of cultural communication in the world. Foreignization can not only express the meaning of the source language, but also retain the characteristics of the national language. Domestication and foreignization are interactive and not completely opposite. Translators can combine foreignization and domestication in translating culture-loaded words. When translating culture-loaded words, the translator can not only use foreignization translation strategy to retain the cultural image and language connotation of the original text, but also use domestication translation strategy to make the translated text easy to understand and readable.

===References===

Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.

Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.

Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&Newyork:Routledge.

Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese& Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science & Technology Press.

Fang Mengzhi 方梦之(2011). 中国译学大辞典''The Dictionary of Translation Studies in China'' [M]. 上海：上海外语教育出版社 Shanghai: Shanghai Foreign Language Education Press.

Yu Qiuyu 余秋雨(2012). 何谓文化''What is Culture'' [M]. 武汉：长江文艺出版社 Wuhan: Changjiang Literature and Art Press.

Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)

Culture loaded words

2021-12-15T15:16:37Z

Cheng Yang: /* 13 程杨 Cheng Yang 《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in Border Town:A Case Study of Dai Naidie’s English translation */

Culture loaded words

2021-12-14T07:34:28Z

Cheng Yang: /* 13 Translation of Cultural-loaded Words in Border Town:A Case Study of Dai Naidie’s English translation */

'''Culture Loaded Words'''

[[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]

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=1 羊叶 The Analysis of Culture-loaded Words of English Subtitle Translation in Chinese Movies-Taking Farewell to My Concubine as an Example =
[[Cult_Load_Words_EN_1]]

电影中英译字幕文化负载词的翻译分析——以《霸王别姬》为例
=== Abstract ===
Nowadays, popular films are increasingly active on the Internet. Confronting such a mass need for film translation, subtitle translation is winning more favor compared with traditional dubbing translation. This paper, taking Farewell My Concubine as an example, analyzes the strategies and methods of translating culture-loaded words. The conclusions are as follows: In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

=== Key Words ===
Subtitle Translation; Farewell My Concubine; foreignizing method; domesticating method
=== 摘要 ===
如今，电影在互联网上越来越受欢迎。比起传统的配音翻译，字幕翻译更受青睐，电影对字幕翻译的需求巨大。本文以电影霸王别姬为例，分析翻译文化负载词时所用的翻译策略和翻译方法。结论如下：就译者而言，翻译者需精通中文和英文两种语言；就翻译策略而言，归化与异化两者对立且相互统一，没有绝对的归化、异化之说；就翻译方法而言，在翻译文化负载词时，贾佩琳主要采用了意译、直译、具体化、一般化、省略等翻译方法，成功地保留和传达了北京方言和京剧的国粹部分。
=== 关键词 ===
字幕翻译；霸王别姬；异化；归化
=== Introduction ===
1.1Research Background

Innovation of information technology brings energy for the advancement of broadcasting ways of film and television programs. More and more foreign popular films are increasingly active on the Internet; more and more local films with Chinese elements are also introduced abroad. Researchers on subtitling translation are becoming more and more important.
China's Opening-up and Reform facilitates the cultural communication between China and the outer world. In the introduction of foreign films and TV plays, language understanding becomes an obvious barrier for audiences. Two major solutions to solve such a barrier are dubbing and subtitle translation. "Subtitles sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen." Relatively, the latter one is more favorable than the traditional dubbing way because of its cost-effectiveness, short producing cycle and audience-acceptability. With higher educational background and foreign language level, many Chinese audiences expect that films can be displayed with “a natural and original flavor” nowadays.
Under such circumstances, subtitle translation seems to be more acceptable to get access to foreign audience. Among so many elements involved in the subtitle translation process, the translator plays the most significant part, thus becoming a key and central element in the subtitle translation system. Therefore, a good subtitle translation with “a natural and original flavor” sets high and strict requirements for the translator.（Liao, 2000: 231）

1.2 Brief Introduction to Farewell My Concubine

Farewell My Concubine, the film version adopted in this thesis is the 1993 one whose heroes and heroines are Duan Xiaolou (acted by Zhang Fengyi), Cheng Dieyi (acted by Zhang Guorong) and Ju Xian (acted by Gong Li) respectively. In the film, Xiaolou and Dieyi are fellow apprentices learning Beijing opera performance together from childhood. Later on, their cooperation in the opera Farewell My Concubine makes them famous overnight throughout Beijing city. Thereafter, they make a promise to each other that they will perform Farewell My Concubine together as long as they are alive. However, their different understandings of the relationship between the opera and life finally lead to their different choices: Until mid-age, Xiaolou deeply knows that the opera isn't his whole life, so he gets married with a famous whore called Juxian; Dieyi, however, becomes totally immersed in the complicated plots and role relationships of the operas, especially Farewell my Concubine. Around such a classic and famous opera, the love and betrayal among them become escalating with the changes of times and eventually develops into a tragedy.
It is the first film that won the Golden Palm Prize in mainland China. It has been keeping the highest-grossing record of Chinese melodrama movies in America which also marks the climax of Chinese films in America. Meanwhile, it also got great box-office successes in such countries as Japan, Germany, Korean, France and so on. It should be concluded that Farewell My Concubine has achieved great success both in the art and business.
In Farewell My Concubine, Beijing Opera art is the central cultural element. It is a typical representative of classical Chinese literature art. Taking it as a case study, general and concrete subtitle translation strategies can be concluded to improve translation quality of similar subtitle translation works.

1.3 Brief Introduction to translator Linda Javin

Linda Javin, the subtitle translator of Farewell My Concubine, is a suitable and qualified person for both the director and the audiences. Since 1976, Linda has been playing an important and active role in broadcasting, studying and exploring Chinese culture. As an internationally renowned sinologist, translator and writer, Linda Javin has made great efforts in learning, feeling and appreciating Chinese culture. It is really a tough time full of difficulties and hardships under the specific social conditions then. After years of efforts to learn Chinese language, history, literature and many visits to China, Linda has begun to embark on her Chinese literary writing career recently. All these can prove that she is really a competent and qualified subtitle translator of Farewell My Concubine. Her wonderful bi-lingual and bi-cultural competence does give her favorable advantages in translating.

=== Analysis the Translation of Culture-loaded Words ===

2.1 Introduction to Culture-loaded Words

Gonzalez Davies and Scott-Tennent (2008, p.783) put forward a definition of cultural references in detail, which is "expressions (audiovisual, verbal, textual,
non-verbal) that are concerned with ecological, material, religious, social, emotional, and linguistic manifestation. In addition, these expressions are specific to a particular community, and they are recognized as a particular feature of that community. Such expressions, however, may lead to difficulties in comprehending these words or translating these words." And in China, a scholar defines it as "the words, phrases and idioms that mark the unique things in a culture." These words reflect the unique way of activities gradually accumulated by a specific nation in the long historical process, which is different from other nations.（Liao, 2000: 232）

It is more diverse to classify Culture-loaded words because China is an ancient national with a history of more than 5,000 years. In this course, many Culture-loaded words have accumulated continuously. Among all the materials, some scholars divide Culture-loaded words based on specific elements such as language and culture. Since different scholars hold different views on the classification of Culture-loaded words, and hence the fist can go on and on. Here is a well-accepted way by Nida. Nida (1945, p.196) divided language and cultural characteristics into five categories:(1)Ecological culture; (2)Material culture; (3)Social Culture; (4)Religious Culture; (5)Linguistic Culture.

2.2 The Features of Subtitles in Farewell My Concubine

Through comparison and analysis, the main language features of the Chinese lines of Farewell My Concubine are concluded as below: concise but emotional dialogue; strong Beijing Opera and Beijing dialect flavor; sharp but implicative expressions; rich of slang and idioms. All the features are drawn from the corresponding lines in the film and all these analysis in the language following features will be illustrated combining with the specific case interpretation. Thus, different translation strategies at different levels can be generalized and concluded to cater for the different language features.

The film takes place in Beijing and is thus featured with rich local color. The most obvious feature is the use of Beijing dialect. Beijing dialect is the basis of standard Mandarin, but there are some differences that make it easy for Chinese people to recognize which is which. Most prominent difference in phonology is the proliferation of rhotic vowels which results from the non suffix “儿” in vocabulary, Beijing dialect has a lot of words that are considered slangy and therefore occur much less or not at all in standard Mandarin. Some non-Beijing natives find it hard to understand what most of them mean, let alone foreigners. A dialect tells about the user's social class, status, profession, and many more. That is why so many translators are taking pains.

Beijing Opera is exactly a colorful part of the film has depicted. Beijing Opera was formed during the period of Daoguang(1821-1850). At the beginning, actors from Chu Opera such as Wang Honggui and Li Liu came to Beijing to perform in the Drama of Hui School. Later, combined with Erhuang melodies and Xipi melodies, in the same time, actors also absorbed the advantages of Kun, Beijing and Qin tunes from their respective schools. Beijing dialects were adapted to adapt to Beijing customs. Thus, it took shape initially. Gradually Beijing Opera developed into the most influential opera in the country. The characters in the whole film have a strong Beijing accent, and many opera excerpts in the film such as Farewell My Concubine, Peony Pavilion and Drunken Imperial Concubine are presented for many times. So it is inevitable to translate many professional terms.

2.3 Cases for Analysis

2.3.1 Brief Introduction to Translation Strategies

Before the specific analysis, let's have a understanding of two basic concepts of domestication and foreignization, which are important strategies in translating culture-loaded words.

The translation theory of domestication and foreignization was first put forward by Schleier Macher, a famous German translation theorist. In his book published in 1813, he put forward that there are only two ways of Translation: one is to guide the readers to get to know the author as much as possible; the other is to guide the author to get to know the readers as much as possible. In 1995, Lawrence Venuti, an American Italian translator, wrote in his important work The Translator's Invisibility, the first method described by Schleier Macher is called "foreignizing method" and the second method is called "domesticating method". That is to say, domestication is oriented by target language, while foreignization is oriented by source language.

As for Linda Javin, she once mentioned in an interview that in the face of the cultural essences in the lines, she adhered to the strategy of domestication in her translation and did not deliberately maintain the oriental flavor contained in the dialogue. Frankly speaking, she doesn't appreciate the way of retaining Pinyin combinations and then adding a lot of notes to make foreigners understood. If Chinese is pleasant to the ear, don't let the expression heard awkwardly in English. So the simplicity and directness are put above everything else to make it easy for the audience to understand.

2.3.2 Cases of Translation Methods

2.3.2.1 Literal Translation

As one of the common methods of translating culture loaded words, literal translation is to translate the source text according to the literal order or meaning, which can retain the original characteristics of Chinese language and culture.

E.g.1世卿世受国恩

岂敢昧法？

更不敢当众违背天理良心。

The government has always been good to me,

I wouldn't dare deceive the court.

Nor would I betray the laws of Heaven or my own conscience.

“天理”“良心” are terms that are quite commonly-used words in China. From literal works to daily talks, from traditional plays to modern films, such kind of expressions are useful guidelines to arouse Chinese People's self-reflection. They are invisible ethical rules guiding people's behaviors. Since they are so local and traditional, it's not surprising that it is a little complicated for foreign audiences to figure them out. Based on the "literal translation" principle, Linda brings "Heaven" into her translation. In Christian culture, "Heaven" serves as the source of various moral concepts and systems. "Heaven" and "God" are existed to guide and restrict people's behaviors. Linda's translation has wonderfully adapted to the target eco-environment and is really worthy of referencing of the subtitling workers and learners.

E.g.2磨剪子来，镪菜刀

Bring your knives for sharpening? Sharpen your knives.

Sharpening knives is a traditional craftsmanship that is disappearing in China. Their dreich yo-heave-ho can evoke many people's memories of childhood. Such lively lines full of traditional Chinese cultural elements, on the one hand, are not so easy to translate; on the other hand, deserve more efforts for the foreign audiences to figure out. Considering all these factors, Linda pays attention to the retaining of its central meaning. Actually, a more literal translation method "Sharpen your scissors, sharpen your knives" may achieve more active functions here. It's the easiest to understand, and it can save viewing and thinking time as well. As for some complicated cultural terms, the best way, the easiest as well, maybe literal translation, which can avoid misunderstanding and superfluous deducing. Finally, they benefit a lot to saving viewing time.

E.g.3什么时候洞房花烛夜啊？

What’s the time of Candle-lit-night in the Bridal Chamber?

“洞房花烛夜” is a typical expression in ancient times of China, which means the golden night of the new husband and new wife on the day they get married. The night usually is beautiful and memorable and it is the first night the new couple. As for this line, Linda did not specifically explain what is the “洞房花烛夜” , instead she use the literal meaning to depict a picture of the special night, translating “花烛夜” to “Candle-lit-night”, which is so warm and beautiful.

E.g.4横扫一切牛鬼蛇神！

Sweep away all Cow Demons and Snake Spirits!

There is an article titled “Sweep away all Cow Demons and Snake Spirits!” published on the People's Daily on June 1, 1966, which marked the climax of the Proletarian Cultural Revolution. The "Cow Demons and Snake Spirits" represents the old ideas, cultures, customs and habits that have poisoned Chinese people for thousands of years. Under the call of the Party Central Committee and Chairman Mao Zedong, hundreds of millions of workers, peasants and soldiers, revolutionary cadres and intellectuals, swept away a large number old things entrenched in the ideological and cultural position. Its momentum is like a storm, with extraordinary rapidity, breaking the spiritual shackles imposed on them by the exploiting class. Using “Cow Demons” to express “牛鬼”, “Snake Spirits” to express “蛇神” is direct, clear and distinct.

2.3.2.2 Free Translation

Free translation is the translation by meanings. That is to say, the translation is done according to the real meanings of a sentence or even a paragraph, instead of completely word to word.

E.g.1他祖师爷不肯赏饭吃，谁也没辙。

But I have no place for him. What can I do?

“祖师爷” is similar to "forefathers" to some extent in China's history. Without knowledge of the specific historical period, foreign audiences won't understand its exact meaning. Perhaps we can understand it as "destiny" "fate" or "god" of western culture, there are still cultural differences between them. From the plots in the film, we know that Mater does not want to accept Little Bean as his disciple, so he explains that Little Bean is not destined to be an actor. From this perspective, "destiny" is the most ideal choice to express the original meaning. Considering all these factors, Linda uses the strategy of "free translation" to put it as "I have no place for him" to refuse Little Bean's mother. Thus, she makes the lines easier to understand, and meanwhile, to avoid leading to a cultural misunderstanding.

E.g.2今儿个是破题儿，文章还在后头哪！

This is just the beginning. Wait till you see what's in store.

“破题” once appeared in "Romance of the Western Chamber” by Wang Shipu, a playwright of Yuan Dynasty. Since then, it has been widely used in various circumstances to refer to "the first time". From the translated version, it's clear that the translation of “破题” as "beginning" exhibits that the subtitle translator, Linda Javin, is quite familiar with the usage of the old Chinese words.

E.g.3真他妈想当太太奶奶啦你！

做你娘的玻璃梦去吧。

你当出了这门，把脸一抹擦，你还真成了良人了？

So you want to become a rich man's wife!

Go live out this goddamn fantasy' then

Don't think that when you walk out this door, you'll become a lady of virtue.

“太太奶奶” has different meanings in China in different social contexts. Without thinking or checking it, it's easy to translate it as "grandmother" "lady" or something like these. Besides, “良” means "good, kind", but here, “良人” doesn't mean "a good, kind or nice-hearted person", instead, it refers to the woman who has abandoned prostitution and become a traditional honest and good woman. Linda's translation of "a lady of virtue" is quite authentic and loyal to the original text.

E.g.4那么日后踏雪访梅，再谈不迟。

Ah, then we shall exchange poetic thoughts some other day.

“踏雪访梅” extracted from Night Vessel, written by Zhang Dai of Ming Dynasty. Originally, it's used to refer to describe the enjoyment with the beautiful scenery and the pursuit for wonderful poems of the ancient poets. In Farewell My Concubine, Mr Yuan invites Xiaolou and Dieyi to his house to have some wine and chat about certain details of the opera. The latter example is also full of cultural terms, which is said by Nakun when he tries to encourage Dieyi to talk with Xiaolou hurriedly and actively. In both examples, Linda deals with the cultural elements skillfully and flexibly.

E.g.4这武二郎碰上西门庆，不打，不打能成吗？

You know the old story about Pan Jinlian's husband meeting the man who screwed her? Did he have any choice but to fight?

It's an old story about Pan Jinlian and his husband in ancient China. When performing translation, a translator needs to place the specific written text under some relative social and cultural backgrounds. This is useful and meaningful for a better and comprehensive expression of the original meaning. The story of “武二郎”“西门庆” is typically traditional Chinese cultural element, the translated text can't be formed without relative culture knowledge. For some literary allusion, stating its general meaning to offer a general idea is very helpful for the audience to grasp the central meaning.

E.g.5这妞够厉害的呀！

What a dragon lady!

Different cultures have different cultural prototypes. Dragon is a propitious symbol in China. As a Chinese totem, all Chinese people see themselves as the grandsons of the dragons. It's a positive and lucky symbol for Chinese people. However, because of the cultural differences, the "dragon" in Western countries means more evil than good. Its fierceness and grisly outlooks make people feel uncomfortable. Thus, "a dragon lady" here, on the one hand, can show Ju Xian's courage for true love; on the other hand, the image of "dragon" can clearly show to the foreign audiences that Ju Xian is at the bottom of the society and she is despised by the social group. Linda's choice of "dragon" clearly shows her comprehensive consideration for the complicated circumstance then.

E.g.6关师父：各位爷，多捧场了啊!

Master Guan: Ladies and gentlemen, enjoy the show!

“各位爷” is a conventional Chinese way to address the male spectators with respect. However, in English, there is no such a counterpart. Therefore, the translator substitutes it with "Ladies and gentlemen", a conventional way to address the audience of a performance in English. “多捧场了啊” is also conventional in indicating the beginning of a show and literally means "support our show". However, the English convention has it as "enjoy the show." The translator thus conforms to target conventions to avoid deviation from audience's "expectancy norms" which are established by the native text in the receiver target of the translation, by their expectations of what a target language should be like.

E.g.7小石头：嗬，够横的你。

Shitou: You are really something.

“横” in Beijing dialect means harsh and unreasonable, "Be (quite or really) something" is an informal expression referring to a person or a thing is of consequence. In the above example, the replacement of “横” by "be really something" shows that Shitou is impressed by Douzi's arrogance and reveals Shitou's generous nature. Although his kindness to offer a sleep place to Douzi is unappreciated, Shitou does not say something harsh. If it is translated into "You're unreasonable", it would be too straightforward.

2.3.2.3 Generalization

Generalization is defined as the type of modulation in which the dissimilarity between source text and target text transemes is characterized by a shift towards greater generality in target text; as such it contrasts with the opposite phenomenon of specification. Generalization is acceptable if target text has no suitable alternative, or if the omited detail may be gleaned from the target text context or is just not important.

E.g.1不罚，不罚你永远是下三滥。

还想成角？做梦。

And if I don't punish you, you'll always be third-rate.

You want to be a great actor? Dream on!

“下三滥” is a traditional Chinese expression that describes some impuissant and footling people in the lower class status in China. To avoid misunderstanding of it, Linda just translates it as "the third rate", simply and concisely. As for “角”, it's a technical term specially used in dramatic performance referring to leading roles in dramas. But “成角” here means becoming a famous actor or actress. Linda's translation retains the most important and essential meaning.

E.g.2依我看，只要是唱西皮二黄，它就是京戏。

I say if it uses the traditional forms, then it’s the Beijing Opera.

"Xipi Erhuang" is a professional term in drama. "Xipi" and "Erhuang" refer to two different vocal cavities respectively. Xipi originated from Qin opera. Its singing is lively and high pitched, generally being used to express cheerful and excited feelings. Erhuang comes from Anhui. The tone of Erhuang is more stable and serious. In the development of drama, Xipi and Erhuang went through a process of slow integration. If the translator transliterates the tones of "Xipi" and "Erhuang" respectively in the subtitles, on the one hand, the audience without the knowledge of Peking Opera can not understand it completely; on the other hand, the subtitles have space limitations, and the letter translation should not be too long. Here, Linda generally translates it as "the traditional forms" to give the audience an abstract understanding.

E.g.3反正这两杯子也沾上了四旧了

Anyway, jade cups were part of the old society

With abundant political background, on August 8th, 1966, as the film mentioned “in the era of Communist revolution, the on-going Great Proletarian Cultural Revolution will be a revolution that reconstructs people’s mind”. "四旧" as a derogatory word, refers to the collective name and general designation of old ideas, including old culture, old customs and old habits. For a time, streets, factories, communes, time-honored stores and schools were changed into revolutionary names such as "Anti-road Construction", "Dongfeng Store" and "Red Guard War School" , destroying the authority of "bourgeois reactionary academic authorities" such as scholars, writers, artists and scientists. Violence became commonly seen in the streets. Instead of illustrating what is “四旧”, Linda chose “old society” to generally express the real social situation at that time, almost everything should be put out the label of “old, bad” to be accused and criticized.

E.g.4尘世中，男子阳污，女子阴秽

There is foulness in both men and women.

This sentence comes from the mouth of Mr Yuan, a drama addict. The word "尘世" is unique to Chinese. It is used by Buddhists or Taoists to refer to the world, with a deep religious color. However, the main religious belief in western countries is Christianity, and "尘世" has no corresponding word in English. In this sentence, Linda translated the sentence into existential sentence, which is a good way to generalize the meaning of the word. In fact, this sentence means that in the eyes of people who believe in Buddhism or Taoism, men and women on earth are all dirty. If the translator rigidly corresponds "阳污" to "man" and "阴秽" to "woman", the translation will only overlap meaning, resulting the translation not authentic.

E.g.5来给师哥勾勾脸

Will you give me a hand with my make up?

The facial makeup in Peking Opera is a special makeup method. The traditional facial makeup mainly refers to clean facial painting. "勾脸" is one of its painting techniques. In order to let the audience clearly understand the meaning of dialogue, it is literally and generally translated as "make up".

2.3.2.4 Specification

Specification is distinguished from the other type, generalization, in that here the shift which occurs between source text and target text in the direction of a higher level of explicitness. In other words, a shift towards greater specification will produce a transeme the meaning of which is made more precisely, by either the addition of extra words or the use of words with a less general meaning.

E.g.1别介，都是下九流谁嫌弃谁啊

Don’t be foolish. Prostitutes and actors are equally despised by society.

The mother (prostitute) of the little boy (Cheng Dieyi) took him to the troupe and hoped that the master would accept him. After seeing the little boy's sixth finger, the master said he had no gift to sing. So the mother knelt down (sexually) and hinted that the master would benefit as long as he accepted the disciple. So the master said this sentence. There is a saying of "三教九流" in ancient China. The three religions here refer to Confucianism, Taoism and Buddhism. The nine religions are divided into upper, middle and lower levels. The translator does not directly translate the "inferior" but translates the contents of the reference, which not only makes the meaning more thorough, but also does not increase the viewing obstacles of the audience.

E.g.2小爷我今儿练的是九转金炉的火丹功。

I have been practicing Kungfu to keep myself warm.

When dealing with those terms with strong cultural meanings, it's proper and wise to conclude some specific tiny terms into a general broader concept. As a result, the translator can save efforts; the audiences can get the general meaning without being entangled in those unimportant tiny details. Kungfu in the translated text, though fails to express the original Taoist cultural meanings, it really saves much screen space and viewing time, thus, it's easier for foreign audiences to understand.

2.3.2.5 Omission

Being opposed to "addition", omission means that some words in the original text do not need to be translated, because although there are no specific words in the translation, potential meaning has been shown. In other words, omission is to delete some unnecessary words, or words that are cumbersome or contrary to the language habits of the translation. But omission does not delete any ideological content of the original text.

E.g.1各位爷都站好甭动。真钱买真货。我小石头今儿个玩儿真的,让爷儿们都开开眼。

I'll give you something to look at.

This scene describes Little Stone and his partners was performing in the street to earn money, but no one gives a reward. In order to attract the audience, Little Stone decided to perform a wonderful show. He decided to hit his head with a brick, so he said the above lines. Because the morpheme of the actor is fast, the picture switches to that he hits his head with a brick as soon as the voice falls, so the translator uses a short sentence to express it. This not only does not affect the audience's viewing of the wonderful picture, but also completely expresses the semantics.

E.g.2他这一亮相,那台底下听戏的人不都吓跑了。

He would scare off the audience

This line is what Master Guan said to Little Bean's mother when he found an extra finger on Little Bean's right hand. While speaking this line, Master Guan stretched out his right hand and made an appearance of being on the stage. Therefore, if the translation of "his appearance" is omitted, this meaningless information vocabulary can be deleted naturally, which does not affect the audience's understanding of the plot at that time, also does not deviate from the meaning of the original lines, and will not cause the audience's confusion. It is a good way to accurately convey the information and let the audience understand the content of the film.

E.g.3陈:唉，袁四爷今儿个来看戏

段:没见我盖着唢呐唱吗？把血都挣出来了

Chen: So, Master Yuan has come to see us tonight.

Duan: I know. I sang so loudly I drowned out the horns.

“今儿个” is a typical time indicator in Beijing dialect. It usually refers to "today". In view of the context, it can also be translated as "tonight". In translating Duan's response, the translator tries to relay its meaning than to represent its form. She omits “把血都挣出来了”，also a typical dialectal expression, which literally means "drive the blood out" and "do very hard" in the real sense. "I sang so loudly" is added to facilitate understanding. The translator also makes efforts to find the most understandable way from the target culture.

===Conclusion ===
3.1 The Conclusion

In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. The translator, the recreator of dialogues in the process of translation, should choose the most appropriate translation strategy to reconstruct the meaning of the original text. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

3.2 Advice

Due to the cultural differences behind translation, some films cannot achieve the same effect abroad as at home. It is true that the two important purposes of subtitle translation are to provide the audience with plot information and to convey the cultural connotation contained in the film. Plot information is the premise of cultural connotation. If the audience of target language cannot understand the plot, it is difficult to achieve cultural communication. Therefore, in the face of handling with culture-loaded words in subtitles, the translator should focus on the purpose of information, put letting the audience understand the film content above everything else, and then give consideration to the cultural purpose.

The subtitle translation in Farewell my concubine mainly adopts the domestication strategy rather than foreignization. Truly speaking, foreignization can retain the cultural characteristics of the original language in translation, making the readers of the target language feel the exotic customs and the unique charm of the source culture. Foreignization could be taken as a means of resistance to the cultural colonial policy of the strong culture, break its "domestication" and strive for winning a place for the weak culture in the forest of global culture. Therefore, there is still a long way for Chinese translators to spread Chinese culture to the countries abroad.

===References ===
Xiao Xiang. The Transmission of Peking Opera Culture in the English Subtitle Translation of Farewell, My Concubine[J]. Frontiers in Educational Research, 2020, 3.0(13.0)

Nan Wan. Subtitling and its Acceptability in the Film Farewell, My Concubine: A Multimodal Approach[J]. Advances in Language and Literary Studies, 2019, 10(6) : 94.

Zhang Kaijuan张凯娟. 电影字幕翻译中的语域对等研究[D].西南大学,2019.

[4]徐敏. 电影《霸王别姬》的汉英影视字幕翻译评析[D].浙江工商大学,2014.

[5]金海娜.从《霸王别姬》到《一代宗师》———电影译者Linda Jaivin访谈录［J］.中国翻译，2013，34（04）.

[6]杜阿晴.目的论视角下电影字幕中文化负载词的翻译——以电影《霸王别姬》《风月》为例[J].福建教育学院学报,2013,14(04):94-97.

=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =
[[Cult_Load_Words_EN_2]]

谢庆琳 Xie Qinglin, Hunan Normal University, China

=== Abstract ===

Language is a product of culture, an integral part of it and a condition of its existence, and an important factor in the formation of cultural codes. Since the 21st century, linguistics has actively studied a direction that sees language as a code for understanding the culture of a nation, not just as a tool for communication and cognition. As we all know, there are certain cultural differences among various ethnic groups influenced by factors such as geographical environment, political system, religious beliefs, living habits, moral values and aesthetic interests. These factors together contribute to the creation of culture-loaded words. The translation of culture-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture while faithfully conveying the essence and soul of the translated culture to the readers of the translated language to truly communicate with different cultures. The translation of culture-loaded words directly affects the understanding of readers of the translated work, and also influences the readability and literary quality of the work. The study of Chinese translation of Russian culture-loaded words from the perspective of cultural load words not only promotes the communication between Chinese and Russian languages, but also deepens the cultural understanding between Chinese and Russian people.

=== Key Words ===
Russian Culture-loaded Words; Translation Principles; Translation Strategies

=== 题目分析俄语文化负载词的中文翻译 ===

=== 摘要 ===

语言是文化的产物，是文化的组成部分和存在条件，也是文化密码形成的一个重要因素。 21世纪以来，语言学积极研究一个方向，即把语言看作是了解一个民族文化的密码，而不仅仅是一个交流和认知的工具。众所周知，各民族受地理环境、政治制度、宗教信仰、生活习惯、道德价值、审美情趣等因素影响，其间存在一定的文化差异。这些因素共同促使了文化负载词的产生。文化负载词的翻译要求译者准确恰当地理解异国文化中的信仰、习俗、审美及价值观等的同时，忠实地将译语文化的精髓与灵魂传递到译语读者面前，真正做到不同文化的交流。对文化负载词的翻译会直接影响译文读者对作品的理解，也影响着作品的可读性及文学性。从文化负载词的角度来研究俄语文化负载词的中译不仅推动中俄两国语言的沟通，同时对加深中俄人民之间的文化理解也具有重要意义。

=== 关键词 ===
俄语文化负载词；翻译原则；翻译策略

=== Introduction ===

After the 1970s, cultural factors were gradually incorporated into the scope of linguists' studies, and cultural studies became a topic of common concern for linguists and translators. Susan Bassnett (1990), the core representative of the cultural translation concept, believes that translation is an exchange between cultures, and the reciprocity of translation should not only realize the reciprocity of language forms, but also pursue the reciprocity of cultural functions between the original text and the translated text. Therefore, translation is not only an act of purely linguistic conversion, but also a reflection of the cultural meaning of language. Language is a means of communication of human thoughts and feelings, and it is both a carrier and an important part of culture. In the process of historical development, countries around the world have formed large or small cultural differences due to different geographical environments, political rule, religious beliefs, traditional customs, lifestyles, value orientations and aesthetic interests. These factors have together contributed to the creation of a large number of cultural-loaded words. Each language has its own cultural vocabulary with cultural color and connotation, and these words reflect the cultural values of each nation. Because they are loaded with special national cultural connotations, cultural-loaded words often constitute the focus and difficulty of translation as an act of intercultural communication, and even become a barrier to the transmission of information.

Guided by American translator and translation theorist Eugene Nida's theory of functional equivalence, this paper takes the Russian as an example to explore the cultural information carried by the cultural-loaded words in its subtitles and summarize its translation method. The translation of cultural-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture, while faithfully transmitting the essence and soul of the translated culture to the readers of the translated language, so as to truly communicate with different cultures. The study of Chinese subtitles of Russian TV series from the perspective of cultural-load words not only promotes the communication between Chinese and Russian languages, but also has great significance in deepening the cultural understanding between Chinese and Russian people.

The paper consists of an introduction, three chapters and concluding remarks. The introductory part firstly describes the feasibility, theoretical significance and practical significance of this research, and then clarifies the novelty of this research. The first chapter briefly outlines the concept of cultural-loaded words, and classifies cultural-loaded words according to Eugene Nida's functional equivalence theory, laying the foundation for the translation study of cultural-loaded words later on. Chapter 2 analyzes in detail the cultural-loaded words appearing in “Intern”, and discusses the translation principles and translation strategies of cultural-loaded words. The third chapter analyzes the causes of mistranslation and difficult-to-understand cultural-loaded words in “Intern”. The concluding remarks summarize the content of the whole text.

=== Culture-loaded Words ===

==== Definition of Culture-loaded Words ====

Culture-loaded words are also called culturally connotative words. In the language system, culture-loaded words are the vocabulary which can best embody the cultural information that a language carries and they also reflect the social life.

Behind each vocabulary are deeply imprinted the cultural, geographical and historical characteristics of a society. Vocabulary is the basic element of language,and the formation of each vocabulary is inseparable from culture. It carries a largeamount of "national cultural accumulation", that is, cultural connotation. This article is an analysis of Russian cultural-loaded words, reflecting mostly about the Russian national culture.

Language is the carrier of culture, so cultural differences must also be reflected in language. Translation means the spread of culture, and words that carry culture are words that express culture. Therefore, the translator focuses on the cultural-loaded words that appear in the source text, and on this basis. The words containing language and culture reflect the development, progress and change of the language of a country's dynasties, as well as the accumulation of various activities that are completely different from other countries (Liao, 2002). Translating social cultural terms and ecological cultural terms can truly understand the living conditions and social conditions of a country in a specific period.

==== Classification of Culture-loaded Words ====

According to Naida's classification of cultural factors, cultural load words are divided into five categories: the first category is ecological cultural load words, which usually refer to words related to plants, animals, climate, etc. of a specific region, for example, a small twisting path is not used in the Russian language environment, such as “羊肠小径”. The second category is material cultural load words. For example, “轿子” refers to a human-powered means of transportation in feudal China, which does not exist in Western countries. The third category is the social cultural load words, which usually involve words of social etiquette, social identity and leisure, such as kneel three times and kowtow nine, the dragon boat festiva, which are unique to Chinese culture and tradition. The fourth category is religious cultural load words, which are generally words reflecting the cultural beliefs of a certain nationality, such as “八字”(horoscopes), “算命先生”(fortune-teller), and so on. The fifth category is language-based cultural load words, which reflect the different ways of speaking and habits of different ethnic groups in terms of phonetics, vocabulary, syntax and so on. For example, the name of a person, the use of idioms, and so on.

=== Translation Principles and Strategies of Russian Culture-loaded Words ===

==== Translation Principles of Russian Culture-loaded Words ====

===== The Principle of Faithfulness to the Original Text =====

Fidelity to the original text is one of the most basic principles and standards of translation. When translating cultural-loaded words, two points should be clear: on the one hand, we can not add some cultural meanings in the translation process based on our own conjecture. On the one hand, it is not possible to attach some cultural meanings to the translation process that are not intended by the author of the original text. For example, the Russian word for rabbit (заяц) has a negative cultural symbolism and is considered to be a symbol of evil and cowardice, while
In the passage of «Судьба Человека»: "… а я уже на ничьей земле между воронками петляю не хуже зайца" (李世俊，张永全等: 1999), a soldier tells how he bravely and wisely crossed the German lines. The rabbit is used here only to borrow the positive image of its quick and dexterous movements, not the cultural symbolism described above.
If we do not take into account the author's real intention and turn it into "no less than a timid rabbit", we are not being faithful to the original text, but rather making a faux pas. Therefore, this sentence
should be translated as "I have reached the middle of the field, and I am not less dexterous than a rabbit in going around in the middle of the crater."

On the other hand, it is important to translate the cultural meaning of the culturally loaded words that are crucial or important to the understanding of the text, as it is easy to misunderstand if only the surface meaning is translated. For example, “сушить сухарь” literally means toast a thousand, but in fact it means to prepare dry food for exile on the road, and now it often refers to eating lawsuits. If there is a scene in Chinese literature where the crane is used to celebrate a long life, it must be translated into Russian with the meaning of longevity in Chinese culture, otherwise the Russians will find it inexplicable.

===== Contextual Principal =====

The meaning of words is often multi-layered and multi-faceted, and translators should judge the meaning of specific words according to the context. Therefore, context is the key to determining the true meaning of a word in a specific context and to help the translator correctly translate the original text.

The following are three situations to determine the specific meaning: (1) Words that often have cultural meaning and represent cultural images may not have culturally loaded meaning in a certain context. (2) The same culturally loaded word may have a different cultural meaning in a specific context. For example, the Russian word “ медведь” sometimes means "powerful" and sometimes means "heavy". Sometimes it refers to the strength of the bear, sometimes it refers to the stupidity of the bear, and sometimes it also refers to the maidenhead. Therefore, it is more important to determine the exact meaning according to the context when translating. (3) Common words may become cultural-loaded in specific contexts. (3) Common words may become cultural-loaded words in specific contexts.

===== Principle of Appropriateness of Explicit and Implicit =====

The cultural-loaded word serves the text with its cultural meaning, so the translation should be either explicit or implicit according to the needs of the text, to keep the text simple and fluent. For example, due to the limitation of space or style
For example, in Russian,“кричать во всю Ивановскую” literally means "shouting at Ivan Square" because in the Tsarist era, decrees and orders were issued on Ivan Square, and people often had to shout to hear them. Therefore, it is not necessary to turn out the meaning of the cultural load when translating into foreign languages, and it can be directly translated as shouting. However, if the translator intends to introduce this historical and cultural phenomenon, it is a different story. In short, the translation of cultural-loaded words should serve the whole text, and be consistent with the context and the author's style, and the translator's purpose.

==== Translation Strategies of Russian Culture-loaded Words ====

Translation principles are macro requirements for the translation process, while in the actual translation process, in order to achieve good translation, in addition to following these principles, we must also adopt necessary translation strategies according to the specific characteristics of the vocabulary. The complexity and specificity of cultural factors determine the variability of the meaning and form of culturally loaded terms, as well as the flexibility and adaptability of their translation means. Generally speaking, in order to achieve good translation effect, translators often use such translation strategies as "direct translation (phonetic translation) plus annotation", "direct translation with free translation" and "free translation" for cultural-loaded words and so on.

====== Direct Translation (Phonetic Translation) plus Annotation ======

The direct translation mainly refers to the translation that retains the original language form completely, so that it is similar to the original text. The method of translation is similar to the original text and has the same structure. Since this method mainly focuses on the linguistic form of the original text, sometimes the translation cannot fully and accurately express the original text.Sometimes the translation cannot fully express the original language accurately, then the translator can adopt the method of adding. In this case, the translator can adopt the method of adding notes to offset the loss of meaning brought by this translation strategy. Cultural-loaded words contain a large number of national-specific words, such as various proper nouns, historical allusions and these words have no direct counterparts in the translated language. Therefore, it is often necessary to translate them by the strategy of phonetic translation with annotation. For example, many literary works use phonetic translation of the Russian national costume “сарафан”, which is translated as "Sarah
A" with a note stating that the sarafan is a traditional Russian folk dress without sleeves.

====== Direct Translation with Free Translation ======

Direct translation with paraphrase is a translation method that combines direct translation and translation with meaning, which not only translates the surface meaning of the original text word by word, but also translates the potential meaning beyond the surface meaning of the original text. The direct translation is a method of translating not only the surface meaning of the original text word by word, but also the potential meaning beyond the surface meaning. For the translation of cultural-loaded words, the combination of direct translation and literal translation can better reveal their true meanings in terms of both form and content. The Russian word "колосс на глиняных ногах" from the «Old Testament»It is about the dream of Nebuchadnezzar, the king of Babylon, who saw a giant statue of a terrible shape, whose feet were half clay and half iron, and the whole statue collapsed due to a stone that happened to hit his feet from the mountain. This dream symbolized the doomed kingdom of Nebuchadnezzar. Thus, the cultural meaning of "giant with feet of clay" refers to a country that is outwardly strong but actually weak and destined to perish. Thus, Lenin said in his speech on November 7, 1919, at the conference commemorating the second anniversary of the October Revolution: "Мы видим, что империализм, который казался таким непреодолимым колосом, казался на глазах у всех колоссом на глиняных ногах." (刘永红：2002) The whole sentence should be translated as "We see that imperialism, which looks like a giant that cannot be served, is actually a giant in the mud with a strong exterior in the eyes of everyone.

===== Free Translation =====

The free translation strategy emphasizes the meaning conveyed to the original language words in specific contexts. The first thing is to translate the meaning of the original, not necessarily to preserve the original form, not to achieve the same literal and structural translation as the original. The translation is suitable for the translation of the cultural load words whose cultural meaning does not play a major role in the original text, or the cultural load words whose cultural image is too remote, sometimes also subject to the limitations of the manuscript and style and use this method, a cultural load words, such as culturally significant sayings, proverbs, because for a long time Ba Jing has a conventional translation of foreign, so in the translation can also be used when the original translation method. For example, "китайская грамота" literally means "Chinese word", "Chinese character", but because of the big difference between Russian and Chinese, it is very difficult for Russians to understand Chinese characters, so here it is translated as "heavenly book, incomprehensible, inexplicable thing". “Для него это китайская грамота” translates as "He doesn't know anything about it".

=== The Translation Difficulties of Russian Culture-loaded Words ===

==== Translatability of Culture-loaded Words in Russian ====

Language is the most important tool for human communication and one of the important carriers of information. The cultural characteristics of a nation's way of thinking, concepts, and systems are bound to leave their mark on language. Vocabulary is one of the most active dimensions of language. Changes in social life, the development of national culture and other changes can be recorded through vocabulary. Culture-loaded words are those words, phrases and idioms that mark things specific to a certain culture, and these words reflect the unique way of activity of a particular people that has gradually accumulated over a long historical process and is distinct from other peoples. Although translation is a transformation of symbols in its manifestation, in its essence it is a cultural exchange activity. The difficulty of translation is not the language itself, but how to convey the cultural content of the original language. The Russian cultural load is an important external expression of Russian culture, which is difficult to find in other national languages, but this does not mean that the cultural load is untranslatable. Firstly, although the differences between languages of different nationalities are determined by their respective nationalities, the similarity of human living conditions and physiological structure determines the similarity of human thinking patterns, therefore, different nationalities have similarities in understanding and understanding things; secondly, translation activities have a long history, and there are numerous cases of translators overcoming cultural gaps and achieving successful translations in the rich translation practice, therefore, the translatability of culture- loaded words is proven by a large number of translation practices. Thus, translators can still use their dynamism in a limited space to preserve and convey the cultural elements contained in the culture-loaded words in Russian.

==== Factors Affecting the Translation of Culture-loaded Words in Russian ====

The first is the internal factor, i.e., the internal factor of language. In his book «Language and Translation», Balhudarov divides the translation unit into six levels: phonemic level, grapheme level, word level, phrase level, sentence level, and discourse level, in an effort to make the original text and the translated text equivalent. After the 1980s, translation research has taken a new direction - the cultural theory of translation, and Susan Basnett, as one of the representatives of this school, believes that translation should take culture as the basic unit of translation, instead of resting on the previous parts of speech. The original text is the most real and objective existence in translation, and the characteristics of the translation object itself will also affect the translation, and the culture-loaded words have the characteristics of ethnicity, implication and unaccustomedness. When translating culture-loaded words, translators often encounter two bottlenecks: first, the lack of corresponding vocabulary; second, the lack of equivalent cultural meaning, that is, the same word in different cultural contexts expresses different connotations. In ancient Chinese philosophy, it is important to "look at things and take images", and under the influence of traditional Chinese thinking, Chinese tends to use concrete words to express imaginary concepts. The abstract content is expressed by the concrete image. Take the word "jianghu" as an example. "Jianghu" is another new word with changed connotation and extension, which is composed of the concepts of "river" and "lake". The word "jianghu" lacks its semantic and formal equivalents in Russian, so translators need to adopt a flexible translation approach to interpret the semantic and cultural connotations of the word "jianghu".

Second, external factors, including the translator's own body and the purpose of translation, etc. The translator is the most active factor in the translation activity, and is the doer of the whole translation activity, which must be completed by the translator. There is no shortage of excellent translators in China, most of them are concentrated in the field of English studies. Unlike the English translations of Chinese literary and artistic works, the translators of both film and television dramas and Chinese literary and theoretical works are mostly Russians. Unlike the Chinese translators' approach to Chinese culture, foreign translators, when translating, unlike the Chinese translators' approach to Chinese culture, foreign translators may have less sense of mission and enthusiasm for spreading Chinese culture when they translate from Chinese to foreign languages, and they pay more attention to the reading norms and market acceptance of contemporary readers, so they tend to adopt translation strategies such as paraphrasing and naturalizing to facilitate the understanding of readers of the translated language.

=== Conclusion ===

There is a growing awareness that language is just an international communication tool
and is not restricted to a particular country or nation but as a neutral information medium. This paper analyzed the definition and claasification of culture-loaded words. Then we disscussed the translation principles and strategies of Russian culture-loaded words. Last it discussed the difficulties in the translation of these words, and makes a conclusion that we should use the combination of literal translation and free translation in the translation according to different circumstances.

Translation is a language communicative activity; there are a lot of words with Russian cultural features, so we cannot find the equivalent words to express the same cultural information in the target language. When translating these cultural-loaded words, it needs the help of alienation principles, achieving the conversion between language and cultural information. However, after all, the reader's understanding of Russian culture is limited, so the translator must follow the rules of Russian language and expression, taking the text type, translation factors such as purpose and audience into consideration to acquire the best translation.

To sum up, language, culture and translation are inseparable. Language is also a cultural phenomenon, while culture shapes language. Translation is a tool for exchanging different cultures and human civilizations, and therefore they are closely related. In the process of intercultural communication and translation, culturally loaded words are the main obstacle, but they reveal the cultural characteristics and social customs of a people. Accurate and faithful translation of culture-loaded words plays a crucial role in facilitating cultural exchange. Direct translation and paraphrasing are effective translation strategies to solve the problem of culture-loaded words. Direct translation can help the target language readers understand the translation more easily. It aims to make the target language readers and the source language readers empathize. However, free translation is intended to preserve the cultural style of the source language for the readers. These two approaches may seem to be opposing, but they actually complement each other. It is impossible for a translator to use one translation strategy to complete the translation task, so in translation practice as a translator, he or she should try to make a comprehensive use of the two translation methods to make the translation more relevant and evocative.

=== References ===

Barkhudarov L. S. Language and translation. (1975) Questions of the general and private theory of translation[M]. Moscow: International relations.

Kozhin A. N. (1982) Functional types of Russian speech. [M]. Moscow: Vysshaya shkola.

Rosenthal D.E. (1987) Practical stylistics of Russian language. [M]. Moscow: Vyssnaya shkola.

Fedorov A. V. (2002) Fundamentals of the general theory of translation. [M]. Moscow: High School.

Yuriev A. N. (2005) Types and styles of speech. [M]. Moscow: Almaty.

Chen Guoting 陈国亭 (2012). 俄汉语通用最简翻译指南 [M]. A general minimalist translation guide for Russian and Chinese. 哈尔滨：哈尔滨工业大学出版社 Harbin: Harbin Institute of Technology Press.

Cai Yi et al 蔡毅等 (2006). 俄译汉教程增修本[M]. Russian to Chinese Translation Course Supplement. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.

Huang Ying 黄颖 (2008). 新编俄语语法 [M]. New Russian Grammar. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Publishing House.

=3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =

功能主义目的论视角下加里斯奈德对寒山诗的英译研究

罗曦 Luo Xi, Hunan Normal University, China

[[Cult_Load_Words_EN_3]]

=4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong 《九章》许渊冲译本文化负载词的翻译=
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=5 孙雅诗 Study on the translation of culture loaded words under the ecological translation theory——Take the English translation of Dou E Yuan as an example 生态翻译学视域下文化负载词翻译研究——以《窦娥冤》英译本为例 =
[[Cult_Load_Words_EN_5]]

=6 杜莉娜 On the English Translation of Culture-loaded Words in Chinese Tourism Texts from the Perspective of Intercultural Communication—Exemplified by Zhangjiajie=

'''跨文化交际视角下旅游文本中文化负载词的英译研究--以张家界为例'''

杜莉娜 Du Lina, Hunan Normal University, China

[[Cult_Load_Words_EN_6]]

=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =
俄语成语中文化负载词的中文翻译分析

宫博雅 Gong Boya, Hunan Normal University, China

[[Cult_Load_Words_EN_7]]

=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =
[[Cult_Load_Words_EN_8]]

=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =
[[Cult_Load_Words_EN_9]]

=10 丁旋 Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =

[[Cult_Load_Words_EN_10]]

=11 高蜜On the Translation of Culture-loaded Words in ''Lao Can You Ji'' from the Perspective of Cultural Schema Theory 从文化图式理论看《老残游记》中文化负载词的英译=
[[Cult_Load_Words_EN_11]]

=12 殷慧珍 A study on the English Translation of Culture-loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies =

殷慧珍 Yin Huizhen, Hunan Normal University, China

[[Cult_Load_Words_EN_12]]

===Abstract===
Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay classifies culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay analyzes the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and summarizes the translation of culture-loaded words based on domestication and foreignization strategies.

===Key Words===
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen

===题目===
归化异化策略下方华文《春节》中文化负载词的英译研究

===摘要===
文化负载词是指具有独特文化内涵的词语，是促进文化交流的强有力工具。由于东西方文化背景的巨大差异，文化负载词的翻译是一项艰巨的任务。因此，本文以方华文散文《春节》中的中国文化负载词的英译为研究对象，介绍了许多词汇关于中国习俗活动里蕴含的中国文化负载词。根据奈达的文化分类，本文将文化负载词分为生态文化负载词、物质文化负载词、社会文化负载词、宗教文化负载词和语言文化负载词。本文以韦努蒂提出的归化和异化翻译策略为基础，分析方华文的散文《春节》中文化负载词的翻译策略，总结出基于归化和异化策略的文化负载词翻译方法。

===关键词===
文化负载词《春节》归化与异化翻译策略方华文

===Introduction===
Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures and the main task of translation is to translate the content of the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of the Chinese nation, such as some idioms, sayings and idiomatic expressions, are difficult to translate. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing research. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of the activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand the profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.

===Fang Huawen and ''The Spring Festival''===
Fang Huawen was born in 1955, who is a famous Chinese literary translator and translation theorist. He plays an important role in literary translation in China and he was elected as a representative in the field of literary translation in China. He has translated many literary works such as ''Oliver Twist'' and ''David Copperfield'' written by Charles Dickens, ''Tess of the d'Urbervilles'' and ''Jude the Obscure'' written by Thomas Hardy, ''Jane Eyre'' and ''Pride and Prejudice'' written by Jane Austen and so on. Also, he wrote books of Chinese Culture of Editions Series such as ''Chinese Garden'', ''Chinese Folk Customs'', ''Famous Historical Cities in China'' and so on, which introduce Chinese culture in all areas. His representative translated work is ''History of Chinese Translation in the 20th Century'', which elaborately introduces the Chinsese Translation theories and translators, covering more than ten million words. His translated works have made great contributions to the spread of Chinese culture, and his translation views are well known both at home and abroad. He was named "the most productive literary translator in contemporary China” by the UNESCO International Federation of Translators and his translation theories were publish in ''Babel'', the academic journal of the International Federation of Translators, which enabled the world to know the general situation of Translation in China and the characteristics of translation.

In this essay, ''The Spring Festival'' is selected as the text of analysis, which is one of the prose collected in the book ''Translation and Appreciation of Chinese and Foreign Selected Famous Proses and Poems'', whose author is also Fang Huawen, selecting and translating famous Chinese and foreign proses and poetry. ''The Spring Festival'' is written by Fang Huawen and he selcets his own translation version in the book. The prose introduces the Spring Festival, the most important traditional festival of the China. The prose introduces the customs and activities of the Spring Festival in detail, which have been passed down from the ancient time. With the changes of the time, the words and customs have their own distinctiveness. Taking the traditional activity “post picture” as an example in the essay, Chinese people posted pictures of Shen Shu and Yu Lu with the wish of getting good luck and happiness in Nan Dynasty. While in Tang Dynasty, they posted the photos of Qin Shubao and Yuchi Jingde. If you don't know the cultural background of Chinese culture, you can hardly know the connotaion of the words. For example, the names of firecrackers are of various kinds, like "Rockets", "Rolling Mines", "Fairy Scattering Flowers", "Knights in Red" and so on. The author elaborately introduces all kinds of customs and activities from the first day of the first lunar month to the 15th day of the first lunar month, among which culture-loaded words are unique to Chinese culture, and the translation of these culture-loaded words will greatly promote the spread of Chinese culture.

===Culture and Culture-loaded Words===

====The Brief Introduction of Culture====
Compared with the economic and political field, culture refers to the spiritual activities of human beings and the products they produce. Culture is a set of customs, traditions and values formed by people living in a specific community over a long period of time, such as the culture of a nation or country. There are various cultures in the world, and each culture has its own characteristics, including its own ethnic values, such as religious belief, world outlook, etc. It also includes spiritual products produced by specific ethnic groups, such as some artistic and scientific spiritual products. Besides, the manners and behaviors of a nation such as folk customs, spirits and so on.

Chinese contemporary writer and scholar Yu Qiuyu gave a detailed interpretation of culture. He gave a definition of culture with a concise and simple sentence in ''What is Culture'', that is, culture is a kind of spiritual value and life style called habit, and its final result is collective personality. (Yu qiuyu 2012:3) The first key word is spiritual value, which means that culture is not only a cultural phenomenon, but also has cultural value. Therefore, it can be explained that culture is a spiritual symbol of human beings compared with the primitive state. The second key word is lifestyle. This is the concrete realization of spiritual value. In most cases, culture, it should be concrete and acessible. The third key word is collective personality. This shows that culture not only affects people, but also concentrates on personality precipitation to maintain some stability.
That is to say, the unique spiritual value and way of life developed by a particular nation is the culture of this nation, such as Confucianism, ancestral hall culture in Chinese culture and so on.

Specifically, Culture covers nearly all kinds of fields in social life. There are many classifications of culture from different perspectives. For example, from the geographical aspect, there are local culture and foreign culture, urban culture and rural culture, Eastern culture and Western culture and so on. Also, from the perspective of time, there are primitive culture, slavery culture, feudal culture, capitalist culture, socialist culture and so on. According to Nida, he divided culture into five categories in his book Language, Cultural and Translation:(1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) language culture. (Nida 1993: 91)

====The Brief Introduction of Culture-loaded Words====
Culture-loaded words refer to the words or phrases carrying the unique cultural connotations of a certain nation, which are different from other nations. Chinese scholar Hu Wenzhong defined culture-loaded words as follows: "Culture-loaded words are words within the scope of a specific culture, and are the direct and indirect reflection of national culture in the language vocabulary" (Hu Wenzhong 1999:64). When these culture-loaded words are translated into the target language, it is not easy to find corresponding words in the target language. Therefore, the wide use of culture-loaded words can transmit national cultural values and promote national communication.

Based on the classification of culture of Nida, culture-loaded words also can be divided into five catergories accordingly. The first is ecological culture-loaded words, which refer to the words that reflect the unique local ecology, such as climate, lgeomorphology, natural environment, mountains, rivers, vegetation and so on. Different geographical environments breed different cultures, such as the Chinese idiom “稳如泰山”, which translates into English as stable as Mount Tai, meaning as firm as a rock, "Mount Tai" is a unique ecological environment in China. Mount Tai is very majestic in the hearts of the Chinese people, and it is worshipped by the people and enjoys a high status. Therefore, people use this idiom to praise people as stable and unshakable as Mount Tai. For English phrase, "a big fish" is literally translated into Chinese “一条大鱼”, but in English culture, it means "Great man", because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.

The second is material culture-loaded words, which refer to words produced in daily life to meet the development of people's material life, that is, words with cultural connotations such as clothing, food and household goods that people need in daily life. In different cultures, people have different associations with different objects. For example, in Chinese culture, since the ancient time, people have divided the universe into five kinds of things, namely are Wood (木), Fire (火), Earth (土), Metal (金), and Water (水), and called them "Wu Xing(五行)"also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena.

The third social culture-loaded words refer to words that reflect various aspects of the society according to different social backgrounds, such as unique festivals, customs, local conditions and practices, as well as the way of address and greeting. For example, "aunt" in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.

The fourth religious culture-loaded words refer to some words related to religious beliefs and concepts, reflecting the influence of religion o.n people's lives. For example, Chinese culture is deeply influenced by Buddhism. Some common sayings contain the influence of Buddhism on people's life, such as the Chinese proverb "菩萨心肠"，which refers to the people with a great kind heart. Cram at the eleventh hour. "菩萨"is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.

The last one language culture-loaded words are the reflection of different languages characteristics in speech, lexical, syntax and other linguistic aspects, usually found in dialogue, ancient poetry and colloquialisms, idioms, and so on. Chinese sentences attach importance to the connection of meaning, and clauses are often connected by meaning, while English sentences are connected by connectives. For example, the famous Chinese proverb,"经得广，知得多"，the whole sentence is very concise, only with six words, and there is no conjunction to connect the sentence. However, the English translation cannot completely translate the format, but need to use a conjunction to connect the sentences in English grammar, that is if you experience more, you can know more things.

===Domestication and Foreignization Strategies===
Domestication and foreignization are two different translation strategies proposed by Venuti in ''The Translator's Invisibility A History of Translation'' from the perspective of culture in 1995. According to Venuti, Domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers.(Shulttleworth , Cowie 1997 : 43~ 44) This was based on the Germanphilosopher Schleiermacher's famous notion of the translation that don’t disturb the reader, as much as possible, and then lead the author towards the meaning that author want to convey. That is to say, using the tanslation strategie of domestication is to localize the translated text. And translator should first consider the target language readers but not the loyalty to the author. Therefore, when translating, the translator should choose the plain and familiar words and expressions in the target language that would not be a barrier to reading for readers, so that the translation can be read nativly and vividly but do not make the readers feel stiff or unfamiliar, and it would not be like a text has been translated but an original book. When translating, he also created many plots that cater to the public’s preferences, making the novel interesting and easy to understand. Because of the cultural differences between the East and the west, some specific words in the source language have no corresponding meanings in the target language. Therefore, especially when translating idioms and allusions, domestication is often used in order to maintain their unique simplicity and expressiveness. For example, cry up wine and sell vinegar(挂羊头卖狗肉)/ live a dog's life(过牛马一样的生活)/seek a hare in hen's nest（缘木求鱼）（Fang Mengzhi 2004: 3）

Foreignization refers to the translation strategy that a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Shulttleworth , Cowie 1997 : 58~ 59) Foreignization refers to the translation strategy that the translator first considers his loyalty to the author and the original text, so the translation will preserve the language characteristics and cultural customs of the original text. The use of foreignization translation strategy will not only make readers have "exotic" reading experience so as to help them better understand cultural differences，at the same time，it also enrich the target language. Many foreign words and expressions have been well integrated into the target language and used in people's daily life. The example of foreignization in Fang Mengzhi's a dictionary of translation studies, such as "time is money", comes from the foreignization of "time is money" in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）

Domestication and foreignization are indispensable translation methods in cross-cultural translation. Domestication can invisibly introduce foreign cultural ideas into the country without causing exotic reading experience or bringing reading barriers to target language readers, thus increasing the readability of the text. However, with the advent of globalization, blindly domesticating other languages is a way of showing ethnocentrism, which is actually a kind of cultural aggression of other country. Venuti believes that the domestication is to use smooth translation strategy to hide the domestication in the transparency of the translation. This is not a cultural exchange but an act of culuture violence under the cover of domestication strategy with ethnocentric ideas, that is, tampering and cultural appropriation. (Fang Mengzhi 2004: 96）Therefore, foreignization has become an increasingly important translation strategy in the process of translation. For culture-loaded words, adopting foreignization translation strategy can not only accurately express the meaning of the sentence, but also promote the spread of Chinese culture, so as to promote the mutual understanding and communication between the East and the West. Therefore, foreignization is gradually accepted by people and more widely used in the world.

===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===
The prose ''The Spring Festival'' contains many traditional Chinese festival culture-loaded words such as poems, idioms, proverb and so on, so in the process of translation, appropriate methods and strategies should be selected. For these Chinese culture-loaded words, the English translation is not completely corresponding to the original text. For example, some Chinese culture-loaded words have Chinese cultural connotations but are not reflected in the translation, and the sentence format in the original text is not completely corresponding in the translation. Based on the classification of culture-loaded words mentioned above, this essay analyzes the ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words in Fang Huawen's ''The Spring Festival'' on the theoretical basis of domestication and foreignization translation strategies.

====Ecological Culture-loaded Words====
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words "火树银花" to describe the scene of the Lantern Festival with bright lights. Literally, "火树" means the fire trees, "银花" means the silver flowers. If the translator uses the foreignization translation strategy to transliterate the sentence, the foreign readers who don't know the Chinese culture may not understand the meaning of the sentence, and will be confused. This is not a tree or flower, but a scene of bright lights. Therefore, the translator adopts the domestication translation strategy and translates it into "fireworks and laterns were everywhere to be seen", "火树" refer to the trees are covered with colorful lights, and "银花" refer to brightly lit scene.

====Material Culture-loaded Words====
Material culture-loaded words refer to some words used for material production, such as medicinal wine, units of weights and measures mentioned in the prose.

Example 1: "爆竹声中一岁除，春风送暖入屠苏。"

Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.

The sentence quoted the famous poem New Year's Day by Song Dynasty poet Wang Anshi, which depicted a lively scene during the Spring Festival. The word "Tusu"(屠苏) has great cultural connotation. "Tusu" is a kind of medicinal wine, called Tusu wine. According to Chinese legend, Tusu wine was first invented by hua Tuo, a famous doctor in the Eastern Han Dynasty. It is generally drunk on the first day of the first month, which plays a role in strengthening the body and defeating diseases. Therefore, drinking it on the first day of the New Year also conveys people's best wishes for the New Year that everyone can stay away from diseases and be healthy. It implied a wish, just as people in the western culture also toast on festivals, so the translator replaced the literal translation of Tusu with the familiar word toasting.

Example 2: 曾架起一座二十丈的灯山。

Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.

In the sentence, "二十丈", that is twenty Zhang. Zhang is a unit of length used in ancient China. The use of Chinese length units has evolved with the changes of history. The units of measurement are closely related to life, they have appeared since the beginning of human beings. The primitive people used fingers as inches, palms as feet, and stretching elbows as feet. Then Qin Shihuang unified the measurement and till now the appearance of modern measurement technology today, the evolution of ancient measurement system reflects the changes of history. In English, there is no length unit of Zhang. Therefore the translator used the domestication translation strategy that converted 20 Zhang into 70 meters.

====Social Culture-loaded Words====
The use of social culture-loaded words reflects the specific social background of the certain period. For example, the appellation or title of people is a significant part of social culture-loaded words. In this prose, the titles of the two ancient emperors "汉武帝" and "唐睿宗" are mentioned. The translator's translation of the ruler is as follows:

Example 1：自从汉武帝以来...。

Ever since the Emperor Wu's Reign of Han Dynasty.

Example 2：唐睿宗时，长安的皇宫外庆贺元宵节

During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.

In Chinese history, from the Han Dynasty to the Sui Dynasty, the posthumous title of the emperor is generally used, which summarized the deeds and morality of the deceased. For example, Emperor Wu of the Han Dynasty, whose posthumous title is "Wu", praised the moral character of Emperor Wu of the Han Dynasty. From the Tang and Song Dynasties to the Yuan Dynasty, the temple name of the emperor was used as the appellation. Temple name is the name given by later generations when they worship in the temple after the death of the ancient emperor. For example, the temple name of the founding emperor is Gaozu or Taizu, such as song Taizu. For the successor, the last word is always Zong, which means to maintain the achievements of the predecessors. For example, Tang Ruizong's temple name is "Rui", which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title "Wu" of Emperor Wu of the Han Dynasty and the temple name "Rui" of Ruizong of the Tang Dynasty. Although the title of emperor is different from that of Di and Zong in Chinese, translator all uses the word emperor.

Example 3: 其外形有"哪吒闹海""孙悟空""猪八戒"和"沙僧"。

Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing.

The words in historical allusions and legends have great social and cultural connotation. "哪吒闹海"is an ancient Chinese legend."孙悟空", "猪八戒" and "沙僧" are main characters in Journey to the West, one of China's four greatest master pieces. Chinese people have watched TV dramas or books about these characters since childhood, so they are familiar with them. However, for foreign readers, they are not familiar with these characters or plots, so it may perplex them if you don't explain the culture background here. The translator adopted the foreignization translation strategy to directly translate "孙悟空" into "Na Zha's adventure in the East Sea", "孙悟空"into the well-known Monkey King, "猪八戒" into Pigsy, and "沙僧" into his name Sha Wujing. Literal translation may confuse readers who do not understand these legends and stories, so notes can be added, that is, Nazha (a divine warrior in Chinese mythology). And Monkey King, Pigsy, Sha Wujing (main characters in Chinese classics pilgrimage to the West).

====Regilious Culture-loaded Words====
Example 1：死后玉皇大帝封他为"斩祟将军"

And was appointed "ghost-killler general" by God of all gods after his death.

In the translation, the translator uses domestication translation theory to translate "玉皇大帝" into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and "玉皇大帝" is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, "玉皇大帝" also governs the affairs of the universe. People regard "玉皇大帝" as the "emperor" in heaven, the supreme ruler of the world of all gods.
In western culture, religions are numerous and varied. Ancient Greece is the land of pantheism, the ancient Greeks advocated many gods. Zeus is regarded as God of all gods and the supreme ruler of the gods in the Greek mythology. Several popular Western religions, such as Christianity, Judaism and Islam are monotheism, holding the belief that God is the only creator of the world. God is conceived of as the Supreme Being and principal object of faith. So the use of domestication can not only express the same meaning of the sentence, but also adapt to the religious culture in the west.

Example 2: 旧岁的最后一天叫"大年三十”，因"除旧岁”而得名除夕。

Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.

The phrase "旧岁”, "岁”is not only refers to the age, but also means year. "旧岁" refers to the past year. The last day of the year, called "岁除", and the night of the day is called "除夕". 除夕, the original meaning of "New Year's Eve", refers to the end of the year to usher in the new. New Year's Eve is a time for family reunion. Like Tomb-sweeping Day, Ghost Festival and the Double Ninth Festival, New Year’s Eve is a traditional Chinese festival for ancestor worship. This sentence uses the combination of domestication and foreignization. The use of foreignization preserves the cultural image and promotes the culture exchange.

====Language Culture-loaded Words====
Chinese idioms usually contain the essence of language and have Chinese characteristics. Many of them use figures of speech such as metaphor. A metaphor is a comparison of something you want to say with something that has similar characteristics. In idioms, metaphors are used to describe the characteristics of something to make it vivid, so as to trigger the association of readers. The idiom in the prose like "像箭一般冲出去了", means that the children rush out quickly, but also shows that the children eager to go outside. In Chinese culture, the arrow(箭) is often used to describe high speed. For example, the idiom "离弦之箭" is used to describe high speed. "离弦之箭" refers to Time flies quikly. But there is no equivalent like arrow in English. In English, words like "bullet" or "cheetah" or "rocket ship" are used for things that are fast. Therefore, in order for readers to better understand the meaning of the sentence, the translator uses the domestication method to paraphrase as "dash out", "dash" is an act of running or moving very quickly or hastily, Although the cultural connotation of the source language is sacrificed in this way, the translator faithfully expresses the meaning of the source language.

===Conclusion===
This essay finds that the prose includes plenty of culture-loaded words, which contains extensive and profound meaning about traditional Chinese culture and customs. This essay introduces the Spring Festival, the most important traditional festival in China, as well as various activities prepared by Chinese people for the Festival and customs they adhere to, which largely spread Chinese culture, promote cultural exchanges in the world, and greatly enhancing the strength of Chinese culture. For this essay, using Fang Huawen's translation text as the analysis object, analyze the translation strategies of translator used about different kinds of culture-loaded words, that is, ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. According to Venuti's translation theory, he advocates that translators should more use foreignization to preserve the cultural connotation of the source language. However, the translator Fang Huawen adopts the domestication translation strategy more frequently, choosing the cultural images familiar to the target language readers in order to resonate with the target language readers and make the target language readers get roughly the same reading effect like the source language readers. At the smae time, culture-loaded words have complex cultural images, if the target language readers do not understand the cultural connotation behind the words, they will not be able to get the real meaning of the text, and may even misunderstand the text mistakenly. When using domestication strategies, translators most commonly use free translation, in which they replace culture-loaded words in the original text with words and expressions more familiar to the target language readers, so as to improve the readability of the translated text and reduce readers' reading barriers. For example he translates the character of Chinese legend "玉皇大帝”into"God of the gods”that are more familiar to the target language readers. However, with the development of globalization, foreignization is increasingly used in translation. When the translator encountered some characteristic culture-loaded words, he chose literal translation, such as "Danianshanshi". Although the translator uses foreignization translation strategy to bring strangeness to the target language readers, it not only retains the traditional image of Chinese culture, but also meets the needs of cultural communication in the world. Foreignization can not only express the meaning of the source language, but also retain the characteristics of the national language. Domestication and foreignization are interactive and not completely opposite. Translators can combine foreignization and domestication in translating culture-loaded words. When translating culture-loaded words, the translator can not only use foreignization translation strategy to retain the cultural image and language connotation of the original text, but also use domestication translation strategy to make the translated text easy to understand and readable.

===References===

Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.

Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.

Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&Newyork:Routledge.

Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese& Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science & Technology Press.

Fang Mengzhi 方梦之(2011). 中国译学大辞典''The Dictionary of Translation Studies in China'' [M]. 上海：上海外语教育出版社 Shanghai: Shanghai Foreign Language Education Press.

Yu Qiuyu 余秋雨(2012). 何谓文化''What is Culture'' [M]. 武汉：长江文艺出版社 Wuhan: Changjiang Literature and Art Press.

Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)

=13 程杨 Cheng Yang 《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]

《边城》中文化负载词的翻译—以戴乃迭英译本为例

程杨 Cheng Yang, Hunan Normal University, China

=14 胡舒情浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》为例On Translation Strategies of Culture-loaded Words in Traditional Chinese Medical Classics: A Case Study of ''Treatise on Febrile Caused by Cold''=

胡舒情 Hu Shuqing, Hunan Normal University, China

[[Cult_Load_Words_EN_ 14]]

=== Abstract ===
''Treatise on Febrile Caused by Cold'', written by Zhang Zhongjing in the late Eastern Han Dynasty, is one of the "Four Classics" of Traditional Chinese medicine which uses six channels as guiding principles of syndromes differentiation and treatment. The book concentrates the traditional Chinese medical wisdom, which is both scientific and literary. The writing is smooth and simple, and the language is straightforward and vivid. A large number of rhetorical devices such as reduplication of words are used to reflect the beauty of Classical Chinese. Its multiple values have led more and more scholars to devote themselves to research, study and even translation and promotion, and a number of outstanding scholars have emerged at home and abroad to devote themselves to the translation work of this book. However, it is not easy to translate this book. China has an long history and profound culture, and the book contains many culture-loaded words. The translation quality of such words directly affects the translation quality, so it is necessary to adopt appropriate translation strategies. Therefore, the author chooses the version translated by Professor Luo Xiwen as the research blueprint to study the translation strategies of culture-loaded words in traditional Chinese medicine classics, in order to promote the translation of this book to a higher level.

=== Key Words ===
cultrue-loaded words; Treatise on Febrile Caused by Cold; Tranditional Chinese medicine classics; translation strategies

=== 题目浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》 ===

=== 摘要 ===
《伤寒论》为东汉末年的张仲景所著，是以六经作为辩证论治的纲领，荣列为中医“四大经典”之一。该书浓缩了中国传统医学智慧，兼具科学性与文学性，行文流畅朴素，语言直白形象，其中大量运用叠词等修辞手法，体现了中国文言文之美。其多重价值致使越来越多的学者致力于研究、学习、甚至是翻译推广，国内外皆涌现出一批优秀学者投身该书的翻译工作中。但翻译此书并非易事，中国历史优秀、文化精深，书中包含众多文化负载词，这类词的翻译质量直接影响译文质量，采取合适的翻译策略必不可缺。因此，笔者选择了罗希文教授所翻译的版本，作为中医典籍文化负载词翻译策略的研究蓝本，以期推进该书翻译工作更上一层楼。

=== 关键词 ===
文化负载词，《伤寒论》，中医典籍，翻译策略

===1. Introduction===
In recent years, China's international influence and national soft power have gradually improved, and the country has consciously pushed Chinese culture to all over the world. Traditional Chinese medicine culture, as an indispensable part of the excellent traditional culture of the Chinese nation, has a long history and unique theories and technical methods. Classic materials are rich and humanistic spirit of TCM is amazing, and the external dissemination of traditional Chinese medicine culture is becoming more and more important. Under this background, the translation of traditional Chinese medicine in China has been gradually carried out, and the culture-loaded words in the classics of traditional Chinese medicine are important features that reflect their rich cultural color and humanistic connotation, and the translation of culture-loaded words is the key to the translation of traditional Chinese medicine. Culture-loaded words are parts of the construction of traditional Chinese medicine culture and have basic research value. They cannot be unilaterally regarded as completely untranslatable because of the differences between Chinese and Western cultures. Facing the problems of translation, it is particularly important to put forward feasible translation strategies. A large number of translators of traditional Chinese medicine classics have also emerged in China, facing difficulties and striving to show the world the classics’ cultural accumulation and research results. Among them, the translator Luo Xiwen has translated a series of traditional Chinese medicine classics such as ''Condensed Compendium of Materia Medica'', ''Synopsis of Prescriptions of the Golden Chamber'', ''Huangdi Neijing'', and ''Treatise on Febrile Caused by Cold''. As one of China's historical medical works, ''Treatise on Febrile Caused by Cold'' is a classic work of traditional Chinese medicine written by Zhang Zhongjing in the Eastern Han Dynasty. It plays an important role in the development of medical history in the cultural biography of traditional Chinese medicine. This article will discuss the translation strategies of culture-loaded words in traditional Chinese medicine classics through Luo's translation of Treatise on Febrile Caused by Cold.

===2. TheDefinition and Classification of Culture-loaded Words in Chinese Medical Classics ===
====2.1 The Definition====
Different scholars have different interpretations of culturally loaded words, but a widely accepted definition is that words, phrases and idioms which mark the unique things in a certain culture. These words are deeply imprinted by the region and times of a language society. They only exist in one culture but are blank in another culture.

In recent years, many scholars have begun to pay attention to culture-loaded words in traditional Chinese medicine classics. Some scholars have tried to give a definition of traditional Chinese medicine culture-loaded words, but there is no clear definition yet. However, scholars Zhang Miao and others put forward recognition steps and a selection standard for traditional Chinese medicine culture-loaded words. First of all, read through the text and divide the semantic groups. Secondly, judge whether the semantic group belongs to the shared vocabulary of all human culture, that is, to express one concept of things as a vocabulary in the context of one language and culture, and words that indicate the corresponding concept in another language and culture background. For example, the words "apple", "pear" and "fire" in Chinese express the same concept and corresponding words in English. If it does not belong to part of speech, then determine whether each semantic group belongs to the following three categories. First, the basic terminology of traditional Chinese medicine. Such terms are usually divided into basic theories of traditional Chinese medicine, diagnosis of traditional Chinese medicine, diseases of traditional Chinese medicine, treatment of traditional Chinese medicine, acupuncture and moxibustion, and prescriptions of traditional Chinese medicine. Second, words unique to Chinese material culture, such as unique characters and things. Third, the unique language phenomenon of ancient Chinese. Such as ancient and modern synonymous words, common false words, word polysemy, etc. If it belongs to, and there is no obvious English corresponding word in the above semantic group, it is a culturally loaded word(Zhang Miao, 2020:63-64). According to this method, this paper selects the culture-loaded words in ''Treatise on Febrile Caused by Cold'' in the following article for analysis.

====2.2 The Classification====
After fingding out the culture-loaded words of traditional Chinese medicine, it is often necessary to classify and discuss them. Different scholars have different classification methods. Xu Xueyuan divided the culture-loaded words in ''Huangdi Neijing'' into basic philosophical concepts of traditional Chinese medicine, place names, traditional Chinese medicine terms and organs(Xu Xueyuan, 2018:148-149). Zhang Xuan divided the culture-loaded words in Su Wen into people's names, traditional Chinese medicine terminology, traditional Chinese medicine-related philosophical concepts, and other descriptive cultural load parts of speech(Zhang Xuan, 2009:12-16). Song Conghui and others divided the words of cultural load into: symptoms of traditional Chinese medicine, symptoms of traditional Chinese medicine, etiology and pathogenesis of traditional Chinese medicine, treatment of traditional Chinese medicine, basic philosophy of traditional Chinese medicine, etc(Song Conghui, 2016:121-122). Chen Zinuo and others divide the culture-loaded words of traditional Chinese medicine into five categories: syndrome, symptom, prescription, philosophy and rhetoric(Chen Zinuo, 2021:1698-1700). The latter includes the classification mentioned in the first three, and also opens up a rhetorical class to make the classification more detailed and clear. Therefore, this paper adopts Chen's classification method.

===3. Translation Strategies Used for Culture-loaded Words in ''Treatise on Febrile Caused by Cold''===
====3.1 Translation Strategy of Culture-loaded Words of Syndrome====

The translation of the syndrome affects the readability of the whole translation. ''Treatise on Febrile Caused by Cold'' has been written for a long time, and the simple structure of syndrome name carries a lot of information, so there are few modern terms that can be matched with ancient syndrome names. According to the methods mentioned above, most of the terms of traditional syndrome names belong to culture-loaded words. The author selected the syndrome -type culture-loaded words in Treatise on Febrile Caused by Cold translated by Professor Luo Xiwen to study the translation strategies of these words.

There are several syndromes mentioned in translation of Professor Luo: “太阳病” “阳明病” “少阳病” “太阴病” “少阴病” “厥阴病” “霍乱病” “阴阳易差后劳复病”. Sheng Jie believes that the translation of the syndrome name should be accurate first, then concise, and there is no need to overemphasize formal equivalence(Sheng Jie, 2013:15). When the meaning of the syndrome name has the corresponding words of Western medicine, the literal translation method should be directly used, and when there is no word to use, the method of additional translation can be selected.

Luo mainly adopts transliteration and free translation for syndrome names, first transliteration, followed by free translation, extending the cultural connotation and giving readers a way to deepen understanding. The following analysis can be seen.

“太阳病” appeares in chapter I, and Luo translates it into The Taiyang (Initial Yang) Syndromes. “太阳” does not refer to the celestial body “sun”, but to the Bladder of Foot-Taiyang. The bladder is located in the lower jiao, that is, below the belly button and above the bladder, which contains body fluid, which evaporizes to form "Qi of Taiyang", which is obvious on the body surface. This Qi has the function of protecting the body, also known as "Wei-qi". Because “Wei” meaning defensive, it is also reputed as “defensive Qi”. Because the Qi of Taiyang travels on the surface of human body, when exogenous pathogenic factors invade the human body, Taiyang must bear the brunt, and the syndromes presented as 太阳病. Professor Luo first gives the transliteration form of 太阳病, and then in view of Taiyang syndromes being the first from the law of transmission, Luo also adds “Initial Yang” as an expression of this kind of law of transmission.

“阳明病” appears in Chapter 4, Luo translates it as: The Yangming (Greater Yang) Syndrome. “阳明病” is related to the stomach channel of Foot-Yangming and the Large Intestine Meridian of Hand-Yangming, which means that Yang Qi is so strong that can be observed. Luo uses "Greater" to indicate the prosperity of yang qi to help readers understand the degree of yang.

“少阳病” appears in Chapter 5. Luo translates it as: The Shaoyang (Lesser Yang) Syndrome. Shaoyang is related to Sanjiao Meridian of Shaoyang and Shaoyang Gallbladder Meridian of Foot. It is one of the three Yang, but its ability to stand up to evil is not as good as Tiyang and Yangming, so "Lesser" is used to correspond to "少" in the name.

“太阴病” and “少阴病”, which have similar names with the “太阳病” “少阳病”, just different from Yin and Yang, have similar translations, so there is no need to go into detail. It is worth mentioning that “厥阴病”, Luo translates it as: The Jueyin (Greater Yin) Syndrome. “厥” has the meaning of “extreme”. When the disease or syndrome reaches Jueyin, Yin is extremely cold. Therefore, the degree of Yin embodied with "Greater" is similar to that of Yangming.

“霍乱” appears in Chapter 9, Luo translates it as: Huoluan (Cholera). “霍”, has the meaning of “suddenly” and “haste”, “乱” has the meaning of chaos. “霍乱” is an explosive gastrointestinal disease with vomiting and diarrhea as the main clinical manifestations. Traditional Chinese medicine believes that it is mostly caused by the combination of the six pathogenic factors and unhealthy diets. In Western medicine, Cholera is more likely to be an acute diarrheal infectious disease caused by the intake of food and water which is contaminated by Vibrio cholerae. It is not appropriate to have Cholera's literal translation of “霍乱” in Chinese medicine.

“阴阳易差后劳复病” appears in Chapter 10, Luo translated it as: The Recurrence of Disease and Yin Yang Yi Syndrome. This chapter introduces two parts: one is related to Yin Yang Yi, that is, the differentiation and treatment of Yin Yang Yi syndrome caused by patients with typhoid fever when they are not healed or just recovering, giving way to their carnal desires; the other refers to the differentiation and treatment of recurring diseases resulted from that, at the beginning of recovering from an illness or no recovery, patients start to work. In this chapter, Luo does not add interpretations, but directly arranges the free translation and transliteration in a phrase. The language is concise, easy to be accepted and understood by readers, and achieve the purpose of communication between Chinese and Western medicine. As a matter of fact, observations show that Luo's translation is relatively accurate in grasping the prosperities of syndromes, and tends to use free translation to reflect the characteristics of the progress of syndromes. However, Luo still mainly uses transliteration to convey cultural information about Yin and Yang and other Chinese-specific philosophical characters. This method also has drawbacks, that is, the transmission of cultural connotation depends on the degree of such characters’ propagation and the reader’s cultural level. For some readers who are first exposed to Chinese medicine culture, the transliteration is not friendly, which is not conducive to their reception of Chinese specific cultural information.

====3.2 Translation Strategy of Culture-loaded Words of Symptom====
When describing various syndromes in the book, it also points out the symptoms of the patient who is attacked by those disease. Most of the symptoms are described in detail at the beginning, and Chinese medical books are quite different from Western medical books in terms of the degree of language rigor. About Chinese medicine books, they make good use of rhetoric and pay attention to flowery characters and rhyme beauty, which adds a literary flavor to Chinese medicine, while it also causes the ambiguity and non-standardization of the concept of Chinese medicine, which increases the difficulty of translation as well. Examples are as follows.

Example 1：阳浮者，热自发；阴弱者，汗自出。

Translation：Floating at the surface signifies Heat weak in depth signifies spontaneous perspiration.

This sentence is neatly formed and catchy to read. Luo's translation is roughly the same as the original in form. It is worth noting that Luo translates most of the character "热" which refers to heat symptoms caused by an exopathgen as "Heat" or "pathogenic Heat", and capitalized H to distinguish the "heat" from common heat.

Example 2：鼻鸣干呕

Translation：nauseous and with a tendency to snore

In response to “干呕”, Luo uses the adjective “nauseous” to express "disgusting". In fact, the original text “干呕” is closer to “retching”, which refers to only the sound and action of vomiting, but no food or only salivation. This is not the same as complete nausea. “Nauseous” the word chosen by Luo here does not fit the context of Chinese medicine. “鼻鸣” are sounds made when the breath enters and exits due to suffocation in the nasal passages. It is manifested as thick breathing like a squeak, and snoring is the sound of thick breathing after falling asleep. Luo use the translation of “snore” is rather accurate.

Example 3：不下利，但呕者

Translation：……not cause diarrhea, but rather cause nausea and vomiting

“下利” refers to having the trots in Chinese medicine. The literal translation of "diarrhea" here fits the context. Compared with using the previous term nauseous to indicate “干呕”, Luo treats the character “呕” more carefully, using two words nausea and vomit to expresse together. At the same time, ancient Chinese medical writings in classical style tend to use omissions and emphasize parataxis, while English paying more attention to hypotaxis, Luo uses the word “cause” to make sentences more coherent and clearer.

In summary, it can be seen that the translation of symptoms extremely tests the translator's Chinese and English levels and medical understandings, and a slight difference will lead to deviations in meaning. For such culture loaded words, translators also use more literal translation and omission methods, and less transliteration. But there is also a problem, that is, most of the symptom names in Chinese and Western medicine can not completely point to the same content, and this subtle difference may cause doctors to make mistakes in judgment and cause major accidents. Therefore, the translation of symptoms should be more careful, and comments can be added when necessary to help understand.

====3.3 Translation Strategy of Culture-loaded Words of Prescription====
Treatise on Febrile Caused by Cold is the "ancestor of all prescriptions", which contains many culture loaded words related to prescriptions. Chai Hui has carried out research on the English translation of the prescriptions of Treatise on Febrile Caused by Cold, using the transliteration + literal translation + Latin notation of the "three insurances" translation method for prescription names to ensure that the translation is accurate and comprehensive(Chai Hui, 2010:703-704). Luo's translation mainly uses literal translation for such culturally loaded words. Examples are as follows.

Example 1：芍药

Translation：Radix Paeoniae

The translation of medicinal materials needs to pay attention to the phenomenon of different medicines with the same name. For example, in Zhang Zhongjing's book, there is no distinction between white peony and red peony, but in modern times, white peony and red peony are clearly classified as two kinds of medicinal materials. At present, clinical physicians generally believe that white peony’s function is rather tonic and restorative, while that of red peony refers to ejecting or diarrhea, and two medicinal materials need to be used flexibly according to the condition of the disease. Professor Luo uses Radix Paeoniae to translate it in general, without any distinction or explanation.

Example 2：潦水

Translation：rain water

In Chinese medicine, “潦水” refers to rain water. Luo Zhi literally translated it. “潦水” can be used to decoct herbal medicines whose functions are to nourish spleen and stomach and remove the dampness-heat. In fact, the translator can also explain the reasons for the use of rain water in Chinese medicine after the text, which is more conducive for readers to understand the connotation of Chinese medicine.

Example 3：苦酒汤

Translation：decoction of Bitter Wine (Ku Jiu Tang)

"苦酒汤" in Chinese medicine is actually rice vinegar. Luo translates it as "bitter wine", which means wine with a bitter taste, which is not in line with the original meaning and can be misleading.

Through the above analysis, we can find that the names of the prescriptions and the materials used in the book all have specific cultural connotations of traditional Chinese medicine. There are few corresponding words in Western languages, and even if they do, they are different from the original cultural connotations of the word in the West. We need to adopt appropriate methods in translation, which not only preserves the cultural characteristics of Chinese medicine, but also facilitates the understanding of target readers.

====3.4 Translation Strategy of Culture-loaded Words of Philosophy====
The philosophy of Chinese medicine is the ideological basis and theoretical guidance of Chinese medicine, covering Qi, Yin and Yang, and the Five Elements and so on. Among them, the theory of Yin and Yang is the main line of Treatise on Febrile Caused by Cold, which is expressed as two opposite sides of the same thing or two opposite things in a unified way. Jiang Mingde and others have analyzed the polysemous nature of the term "Yin and Yang" in Treatise on Febrile Caused by Cold, and pointed out that Yin and Yang can represent multiple meanings such as pulse location, pulse condition, disease attributes, pathological characteristics, etc(Jiang Mingde, 1992:7-8). The specific meanings in terms vary according to the environment and the translators different. Some examples are analyzed as follows.

Example 1：阴阳自和

Translation：if yin and yang are still in harmony

"阴阳自和" means that after sweating, vomiting, and using the purgation method, the human body achieves Yin-yang harmony and heals through self-regulation. This is an important content of Chinese philosophy. This tends to be a kind of dynamic balance, while Luo Yi's translation of “in harmony” is more inclined to a kind of static stability, which is somewhat different from the original meaning.

Example 2：脉阴阳俱浮

Translation：floating pulse at Yin and Yang

The translations of “阴阳” here are still transliterated as Yin and Yang. As a matter of fact, the two terms here refer to “Cun” and “Chi” (the transliteration of “寸部” “尺部”) appearing as floating features. Cun pulse pertains to Yang, and Chi pulse is to Yin. Professor Luo only uses transliteration, without supplementing background knowledge and relevant contextual information, so that readers in the target language may not understand what exactly they refer to.

Example 3：伤寒阴阳易之为病

Translation：Febrile disease caused by Cold with Yin Yang Yi syndrome

Luo adopts transliteration and free translation. In regard to Yin Yang Yi, Yin and Yang here refer to sexes of male and female, among which Yin Yi is the disease transmitted from female to male; Yang Yi is the diseases transmitted from male to female. After analysis, it can be found that most of philosophical characters such as Yin and Yang are transliterated by Luo, who does not provide additional explanations or supplementary background information. Without pre-connotations, this kind of translation would make the target language readers and feel confused and think that the translated work is obscure.

====3.5 Translation Strategy of Culture-loaded Words of Rhetoric====
The language of Chinese medicine has its unique features, which are mainly manifested in its literariness, rich philosophical thoughts, and good at comparing images and analogies. Various rhetoric techniques can be seen everywhere in the book. While deepening people’s understanding of the original text, it also increases the difficulty of literary translation into English. The correct transmission and translation of the true meaning requires a solid foundation in Chinese medicine and linguistics.

Example 1四肢烦疼：

Translation：the patient feels heavy and painful in the extremities

The "烦" in this phrase, Explanation of Treatise on Febrile Caused by Cold and other books explain it as an annoyance, a kind of feeling for people. The Chinese sentence here is a non-spirited sentence to replace people with limbs. Luo’s version of the translation emphasizes people's feelings. It rather focuses on people's feelings of heavy pain in their limbs, than translates people's feelings of boredom.

Example 2：啬啬恶寒，渐渐恶风，翕翕发热

Translation：The patient feels chill and fears wind, uneasy because of a fever.

Among them, “啬啬” “渐渐” and “翕翕” manifest various kinds of rhetoric techniques. “啬啬” reflects the howling shudder look, expressing that the degree of people’s aversion to cold is severe. And “渐渐” describes the onomatopoeia of mild wind and rain, while “翕翕” describes the appearance of mild fever, but these characters are not translated in Luo's translation, and Luo adopts the omission method.

===4. Conclusion===
''Treatise on Febrile Caused by Cold'' is a classic work of Chinese medicine and a treasure of Chinese medicine culture. The translation and dissemination of this book has extraordinary significance for the promotion of Chinese culture and the connotation of Chinese medicine. The culture loaded words are the condensed form of the unique national culture, and their translation is related to the readability of the entire book. The English translation of culture loaded words in Chinese medical classics is an extremely complex cross-cultural translation activity. It not only takes cultural characteristics into account, but also reflects the characteristics of scientific and technological styles, which is a great test for the level of translators. Professor Luo’s translation of this book is the world's first fully translated English translation of TCM classics. The book was published earlier than most translations. Under the background of that time, Luo Xiwen's translation of Treatise on Febrile Caused by Cold is no doubt of pioneering significance.

The translation strategies Professor Luo chooses are basically literal translation, free translation, omission, and transliteration, with few additional interpretations. Each of these translation strategies has its own advantages and disadvantages. The ultimate goal of translation is for readers to better understand the original text, and there is definitely a great similarity between the two different medical systems of Chinese and Western medicine, which cannot be separated. Literal translation can be used appropriately, and some of Western medicine terms can be used to express some concepts of that of Chinese medicine. Literal translation is a translation method that maintains both the original content and the original form. Generally, when the target language and the original language can express the same content in the same form, we will use literal translation. However, culture loaded words are the difficulties of translation due to the vocabulary vacancy in the target language. The use of literal translation seems to be contradictory. In fact, the choice of literal translation is also for the construction of the concept of TCM culture. Although Chinese medicine culture loaded words are not only a language full of Chinese national characteristics, but also a part of the world's national culture. We should also have full cultural self-confidence. In the translation process, we should dare to retain the national cultural characteristics, express the Chinese medicine culture with the conceptual language of Chinese medicine, and present the pure and natural Chinese medicine culture to Western readers, so as to increase the understanding, recognition and respect of the Chinese medicine culture. This is why Professor Luo extensively use transliteration is his translation, which reflects his care and thought. At the same time, we have to admit that Luo’s translation also has its shortcomings, such as mistranslation or incomplete translation of culture loaded words with multiple meanings, omission of some modifiers, and no supplementary explanations for relatively large differences between Chinese and Western cultures. In the future, Chinese medicine Translation needs to continue to explore, innovate, revise and develop.

All in all, the translation of Chinese medical culture loaded words must not only maintain national cultural characteristics, but also be conducive to the understanding and acceptance of target readers. All major translation strategies are worthy of careful consideration. Only translators familiarize themselves with the original text, master the similarities and differences between the two languages, choose the most appropriate translation strategy in different contexts, and supplement the relevant cultural background when necessary to help readers understand, translations of Traditional Chinese Medicine classics can be rather outstanding.

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Song Conghui宋聪慧. 生态翻译学视角下《伤寒论》文化负载词英译研究[D]A Study on the English Translation of Culture Loaded Words in ''Treatise on Febrile Caused by Cold'' from the Perspective of Eco-translatology.南京中医药大学Nanjing University of Traditional Chinese Medicine,2016.

Sheng Jie盛洁. 基于奈达功能对等理论的《伤寒论》病证名英译研究——以Nigel Wiseman译本和罗希文译本为例[D]Research on English Translation of Disease and Syndrome Names in ''Treatise on Febrile Caused by Cold'' Based on Nida's Functional Equivalence Theory——Taking the Translation of Nigel Wiseman and the Translation of Luo Xiwen as Examples.南京中医药大学Nanjing University of Traditional Chinese Medicine,2013.

Xu Xueyuan徐雪元.权力与抗争:浅析后殖民主义翻译理论视角下中医文化负载词的英译[J] Power and Resistance: An Analysis of the English Translation of TCM Culture-loaded Words from the Perspective of Postcolonial Translation Theory.海外英语Overseas English,2018(19):148-150.

Zuo Gui左桂. 关联翻译理论视域下《伤寒论》通假字英译研究[D]A Study on the English Translation of Tongjia Characters in ''Treatise on Febrile Caused by Cold'' from the Perspective of Relevance Translation Theory.南京中医药大学Nanjing University of Traditional Chinese Medicine,2021.

Zhang Miao张淼,李莉Zhang Li.中医典籍中文化负载词的识别及翻译策略刍议[J] On the Identification and Translation Strategies of Culturally Loaded Words in Chinese Medical Classics.医学与哲学Medicine & Philosophy,2020,41(02):61-65.

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Zhang Zhongjing张仲景.伤寒论[M]Treatise on Febrile Caused by Cold.罗希文Luo Xiwen,英译the English Translation,北京Beijing：新世界出版社New World Press.2007.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 14:07, 8 December 2021 (UTC)

=15 陈静 The Translation of Culture-loaded Words From the Perspective of Skopos Theory: A Case Study of ''Xi Jinping: The Governance of China''=
[[Cult_Load_Words_EN_15]]
===Abstract===
The Communist Party of China celebrates its 100th anniversary in 2021. Xi Jinping: The Governance of China (Volume III) was published at a critical juncture. Xi Jinping's political vision is expanded in the third version. This book provides foreign readers with a window into China's leadership and insight into China's unique governance. Hence, the book is critical in assisting foreigners in understanding China's political position in domestic and international affairs. The purpose of this article is to investigate and analyze the translation strategies of culture-loaded words in Xi Jinping: The Governance of China (Volume III) using the framework of the Skopos Theory.

===Key words===
Culture-loaded words; Skopos theory; ''Xi Jinping: The Governance of China
''

===Introduction===
this subtitle is repeated I think, you can delete this one. And delete this my sentence as well.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:48, 13 December 2021 (UTC)

===1. Introduction===
====1.1 Research Backgrounds====

Language is a cultural carrier as well as an important means of understanding specific ethnic and national cultures. Each country’s language contains more or less culture-loaded words, and the connotation of these words differs from people’s general cognition of them in the context of globalization, reflecting their own unique culture, national color, and historical context. Because each nation has its own development history, social system, ecological environment, religious beliefs, and so on, the language will inevitably derive a large number of words, allusions, and idioms condensing the national historical and cultural characteristics during the development process of history. With a five-thousand-year-long history, Chinese has amassed a large number of culture-loaded words, and translation of culture-loaded words is an important carrier for cultural readers from other countries to understand Chinese culture without relevant cultural background.

From my perspective, "five-thousand-year-long history" is a little Chinglish, maybe "five-thousand-year history" is better.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:58, 13 December 2021 (UTC)

At the specific practice level, a large number of culture-loaded words will inevitably appear in the text as a material to publicize all aspects of the country. A good example is Xi Jinping: The Governance of China (Volume III). General Secretary Xi Jinping quoted classics and used approachable language in his speech. His use of words infused with Chinese culture made this series of speeches more vivid and appealing to the audience. Through careful text reading, analysis, and summarization, it has been discovered that the culture-loaded words used in Xi Jinping: The Governance of China (Volume III) primarily fall into the following categories: Chinese political words, including political slogans and political characters; a large number of ancient Chinese poems, with cultural connotation primarily reflected in the characters, allusions, and images appearing in poetry; unique Chinese sayings and idioms; and special words with Chinese cultural connotation, such as numbers, etc. The translation of culture-loaded words necessitates translators faithfully conveying the essence and soul of their national culture while accurately and properly understanding the beliefs, customs, and aesthetic values in other national cultures in order to achieve true cultural communication. As a result, in order to achieve the goal of Chinese culture spreading, translators should carefully deal with culture-loaded words and strive to accurately convey the essence of traditional Chinese culture to target language readers.

====1.2 Research Significance====

China’s politics and policies are attracting increasing attention from the outside world as China’s overall national strength and economic development improve. The Communist Party of China celebrates its 100th anniversary in 2021. This is a significant event in Chinese ruling party's historical and political development. ''Xi Jinping: The Governance of China (Volume III)'' was published at a critical juncture. Xi Jinping’s political vision is expanded in the third version. The language in the book is rich and diverse. In addition to general political terms, the book employs rhetorical devices such as exclusion and repetition to improve the language’s persuasion. The books also contain a large number of poems, proverbs, and idioms rich in Chinese cultural heritage. A minor blunder may result in cultural misunderstanding, a negative national image, and an impact on international relations.

According to Gao Fang (2010), in the context of “Chinese culture go out”, the country has taken various measures to strengthen cultural export, but Chinese readers disregard for local literature, western readers of Chinese culture cognition, English world innate discrimination against translation work and translation strategy decisions, which reflects the difficulties in the broadcast of Chinese culture. As a result, it has piqued the interest of the domestic literary circle, the translation circle, and various publishing institutions: how to successfully realize cross-cultural communication of cultural works, how to properly and effectively solve the translation problem?

The paper uses the English translation of culture-load words in ''Xi Jinping: The Governance of China'' as the research content, and attempts to summarize and analyze the translator’s translation strategy and rationality when translating Chinese culture-loaded words from the perspective of Skopos Theory, as well as providing a reference for the English translation of Chinese cultural load words in current publicity materials.

===2. Literature Review ===
====2.1 Culture-loaded Words====

Nida proposed the theory of culture-loaded terms translation for the first time in 1945.

Nida classified culture-loaded terms into five categories, including ecological, material, social, religious, and linguistic culture-loaded terms. Ecological culture-loaded terms are words or phrases that are distinct due to their ecological and environmental conditions, which typically involve animals, plants, and climate. Material culture-loaded terms refer to physical objects that are specific to a culture, such as vehicles, food, or clothing. Social culture-loaded terms encompass a broader range of cultural content, encompassing all aspects of social life such as cultural background, social rules, history, traditions, and so on. Religious beliefs, including myths and fairy tales, are examples of religious culture-loaded terms. Linguistic culture-loaded terms are expressions with rich cultural characteristics, such as specific pronunciation, word, and syntax. From the author’s perspective, Aixela (1996) provided two primary classifications of culture-loaded terms: specialized nouns and common expressions.

Newmark (2001: 70) classified culture-loaded terms into five categories based on Nida’s research: proper names, historical institutional terms, international institutional terms, national institutional terms, and cultural terms. Proper names, according to Newmark (2001: 70), refer to “persons, objects, and processes distinctively owned by an ethnic community with singular references”. Brand names, trademarks, geographical names, names of newspapers, firms, journals, and private institutions, as well as proprietary names, are all examples of proper names, according to Newmark (2001). According to Newmark (2001: 74), historical institutional terms are “token words that give color and flavor to a period”. International institutional terms are words used by international organizations that have an official translation. According to Newmark (2001: 75), national institutional terms are those involving modern politics, finance, administration, and society. The scope of general cultural terms is broader, including ecological terms, loanwords with no specific cultural characteristics, and so on.

Chinese academics also proposed their own classifications of culturally charged terms. Tu Guoyuan (1996) agreed with Nida and Newmark’s classification and defined culture in a broader sense as human society's mental and practical activities. In a broad sense, culture is defined as a community's distinct way of life and how it expresses its ideas. Culture-loaded terms, according to Liao Huihua and Ge Lingling(2010: 101), are words, phrases, and idioms that represent unique items in certain cultures. These terms reflect the distinct activities of specific ethnic groups that have accrued over time and distinguish them from other cultures.

====2.2 The Skopos Theory====
Skopos Theory, the foundation of Functionalist Translation Theory, was proposed by Vermeer, a student of Reiss. According to Skopos Theory, the primary principle determining the translation process is the purpose of translation activities.

There are three types of purposes, according to Vermeer. To begin, there is a broad goal that a translator strives for, such as translating as a source of professional income. Second, a target text's communicative purpose in a target context, such as instructing the audience. Third, the goal of a translation strategy or approach, such as displaying structural characteristics of the source language. The theory views the source text as a "offer of information in a target culture," which is a result of constructivist comprehension theories.

The Skopos Theory states that there are three basic rules.

First and foremost, the Skopos rule. It is the highest-ranking rule for any translation, implying that translation activities are determined by the translation purpose. Each text is written with a specific purpose in mind and should be used for that purpose only. Because translation behavior is determined by the purpose of the translation, the Skopos rule is the primary rule for all types of translation.

The coherence rule is the second. This rule states that the target text must be coherent enough to be understandable given the intended receivers' background and context. At the very least, the translator should ensure that the translation is understandable to people from the target culture. Furthermore, only when the target text meets the standard of being intratextually coherent can it be expected to play a presupposed role in the communicative situation and culture in which it is received, and the audience will understand it without difficulty.

The third is the rule of fidelity. This rule focuses on the intertextual coherence between the translation and the original text, which is not the same thing. The former is thought to be inferior to the latter, and both are subject to the Skopos rule. When the purpose of the function changes, the standard is no longer intertextual coherence with the source language, but adequacy or appropriateness in relation to the purpose (Reiss and Vermeer, 1984). It is critical in translation that there is intertextual coherence between the source and target texts, and the form of this coherence depends on both the translator's understanding of the original text and the translator's translation purpose. There is only one possible intertextual coherence: maximum fidelity to the original text.

Skopos Theory’s three basic rules are intended to guide the translator throughout the translation process. In most cases, the translation cannot meet all three rules at the same time because doing so causes it to deviate from the original intention of the source text. In general, the Skopos rule should be followed by the coherence rule, followed by the fidelity rule, or, to put it another way, the need for loyalty is considered to be subject to intratextual coherence, both of which are subject to the Skopos rule. When a faithful translation of the original text cannot be effectively understood by receivers of the target text, the translator should abandon the fidelity rule and follow the coherence rule, that is, to make the translation meaningful in the target language’s communicative context and culture. If the function changes, the required standard will no longer be intertextual consistency with the source text, but adequacy or appropriateness in terms of the purpose (Nord, 2001). If the purpose necessitates intratextual incoherence, the intratextual coherence criterion is no longer applicable.

====2.3 The Translation Strategies of Culture-loaded Words====

Wang Jianguo (2019) identified four limitations in translating culture-loaded words.

First, culture-loaded words are untranslatable. Culture has a distinguishing feature that sets it apart from the culture of the target language. Culture-loaded words are difficult to translate in certain literary works because they require more explanation and thus have the potential to influence the structural and aesthetic value of the target text. Second, cultural information that is highly relevant to the theme should be translated, and explanatory notes should be included as needed. If the culture-loaded word is unrelated to the source text, the target text will most likely be deleted or omitted. If the target text translated with literal translation can be understood, then literal translation is the most likely translation strategy to be used. Third, cultural values are difficult to convey. As a result, while translating culture-loaded words with Chinese characteristics, western media translation can be borrowed. Gu Hongmin, for example, translated “君子” as “a wise man”. Western culture emphasized wisdom, whereas Chinese culture emphasized benevolence. Gu translated “君子” as “wise man” because he thought the two words were culturally equivalent. Fourth, the principle of economy should be applied in translation. Wang discovered that when culture-loaded terms in the source text have little influence on comprehending the whole article, translators can find culturally equivalent words so that the target text will be more concise.

Wang also classified translation strategies into three categories: literal translation, non-literal translation, and translating words with unique cultural information.

The first strategy is literal translation. When there are words with similar cultural meanings, a literal translation is usually used. One type of literal translation is transliteral translation, which refers to the use of pinyin to translate culturally loaded words. Because transliteral translation preserves more cultural characteristics of the source language, it is frequently used in target text of the Big Breasts and Wide Hips. A translation strategy like this can help to avoid misinterpretation of the source language’s culture.

The second strategy is non-literal translation. This translation strategy is typically used in reader-friendly texts in the target language. Such a translation strategy does not adhere to the source text and overcomes constraints in language structure, which is a widely accepted strategy among targeted readers. Nonliteral translation strategies include explanatory notes both inside and outside the main body, including footnotes and tail notes. Filling-in translation is commonly used with literal translations, but it is also one of the non-literal translation strategies. Deletion refers to the practice of translators removing unnecessary words when the original meaning is unaffected.

The third strategy is to translate words that contain specific cultural information. Wang pointed out that idioms, aphorisms and maxims, two-part allegorical saying, the common saying, idioms and proverbs are the six major categories of idiomatic expressions. In many cases, the target text contains no words or phrases that are completely culturally equivalent to the source text.

===3. Analysis of Translation of Culture-loaded Words in ''Xi Jinping: The Governance of China''===
====3.1 Translation Strategy of Social Culture-loaded Words====

Social culture-loaded words reflect social ideology, which refers to the system in the form of social and economic factors in specific classes or groups. Social culture-loaded words encompass all aspects of social life, such as social activities, historical allusions, and festival customs. Words or phrases containing social culture-loaded words will emerge from a specific social context. As a result, it encompasses a wide range of word collocations. Political terms with Chinese characteristics, Chinese common saying, and rhetoric in Chinese are examples of social culture-loaded terms.

ST: 中国在人类发展史上曾经长期处于领先地位，自古以来逐步形成了一整套包括朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度、军事制度等各方面制度在内的国家制度和国家治理体系。

TT: Over a long period of history China led the world in development. It forged a complete set of state and governance systems covering the court, administration of prefectures and counties, land, taxation, civil service examination, supervision and the military.

“朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度” are institutions in the past of China that international readers may not be familiar with. In this case, the translators use literal translation by looking for words with similar meanings in the target language and the source language while adhering to the fidelity rule. “郡县” is translated into the modern expression of “prefectures and counties”. Such a translation strategy is in accordance with the principle of efficiency in dealing with cultural information. When the cultural information in the source text has limited influence on comprehending the entire passage, most translators will use a common strategy of finding words or phrases with similar meanings. By doing so, the original context's structure is not jeopardized, and the target text can adhere to the original meaning, which meets the fidelity rule’s requirement.

A similar strategy is adopted in translating “税赋” and “土地”. As for“税赋”in ancient China, the feudal land tax and taxation are included. However, the purpose of this excerpt is only to provide context for China's magnificent culture. Translators look for culturally equivalent words so that the target text is more precise and coherent. When translating “税赋”, since feudal land tax is a unique expression of the social system in ancient China and has little influence on the meaning of the whole passage, the translators use deletion and only translate the meaning of “税”. “土地制度” is also translated into the brief version of “land”, also using the strategy of deletion. Instead, inline annotation is used by translators when translating “科举制度”. “科举制度” is a unique examination system for public officials in ancient China, and it is difficult to find culturally equivalent words for it. To avoid misinterpretation from international readers, the translators explain this noun through explanatory notes, employing the Skopos rule to ensure effective cross-cultural communication. The translators take into account the cultural backgrounds of international readers and used culturally equivalent words in the target language. The goal of these two different translation strategies is to make cross-cultural communication easier. The Skopos rule and the coherence rule have been followed as a result of these strategies.

ST: 广大青年要坚定理想信念，志存高远，脚踏实地，勇做时代的弄潮儿，在实现中国梦的生动实践中放飞青春梦想。

TT: To all our young people, you should have firm ideals and convictions, aim high, and have your feet firmly on the ground. You should ride the waves of your day; and in the course of realizing the Chinese Dream, fulfill your youthful dreams.

“弄潮儿” is a common Chinese saying that originally referred to swimmers who swim against the tide but has since come to refer to people who are brave and entrepreneurial. This phrase has Chinese cultural characteristics and comes from a poem written during the Tang dynasty. This phrase was translated literally by the translators in accordance with the fidelity rule. The fidelity rule requires translators to avoid contradicting the original meaning of the source text while making the translation more understandable in light of the cultural differences. In the target text, the translators use literal translation to directly translate “弄潮儿”, implying that people should follow the trend of the times, which also meets President Xi’s extended meaning. Certain cultural information has its uniqueness, making it untranslatable. “弄潮儿” is a distinctive Chinese expression, and “ride the waves” refers to enjoying the advantage or benefit of a particularly successful, popular, fortunate or interesting moment. It can be difficult to find phrases that are completely culturally equivalent, so the translated version restored as much of the original information as possible, demonstrating how the fidelity rule is applied in the target text.

The above-mentioned social culture-loaded terms demonstrate a high level of adherence to the coherence rule and the Skopos rule, most likely due to the fact that social culture-loaded terms vary greatly across cultures. Target readers may find it difficult to interpret translations that strictly adhere to the fidelity rule, whereas translations that adhere to the coherence and Skopos rules can better facilitate cross-cultural communication. According to the appendix’s collected social culture-loaded terms, the majority of social culture-loaded terms used deletion, literal translation, and inline annotation. These three strategies allow international readers with limited knowledge of Chinese society to comprehend China’s policies and read the volume fluently.

====3.2 Translation Strategy of Material Culture-loaded Words====

Material culture-loaded words include material products and technology invented by human beings derived from the development of society. The third volume’s material culture-loaded terms can be divided into four categories: construction, items, literary works, and names. Most material culture-loaded terms use transliteration and amplification strategies when translating literary works and names, as well as substitutions when translating constructions and products. Materials can have a variety of meanings in different cultures. For example, in Chinese culture, the terms “勤务员” and “伙夫” are distinct expressions that may not have equivalent words or phrases in English. While translating these words, translators should be aware of expressions in Western culture with similar meanings.

ST: 中华民族伟大复兴，绝不是轻轻松松、敲锣打鼓就能实现的。

TT: Achieving national rejuvenation will be no walk in the park; it will take more than drum beating and gong clanging to get there.

East and Southeast Asian musical instruments include drums and gongs. Gongs and drums, with their symbolic meaning of hyping up, can be used in times of grand celebrations in Chinese culture. President Xi is emphasizing the difficult efforts that the Chinese people must make in order to achieve national rejuvenation. As a result, the translators use the translation strategy of addition to limit the boundaries the source text may transform so that the readers can have a more precise understanding, as shown in this excerpt by how the Skopos rule is applied. Meanwhile, the translators render the phrase as "drum beating and gong clanging," demonstrating the fidelity rule. The literal translation is used here to restore Chinese cultural connotations. The fidelity rule in translation requires equivalence in meaning and refers to word for word translation. In this case, the translators have kept the names of well-known Chinese musical instruments. At the same time, the translators explain their connotations, in order to maintain the fidelity of the target text to the source text and to improve cross-cultural communication. Understanding and conveying information of “rejuvenation is no easy task” to international readers is facilitated.

ST: 天宫、蛟龙、天眼、悟空、墨子、大飞机等重大科技成果相继问世。

TT: ... with major advances made in science and technology, including the successful launch of space lab Tiangong, the commissioning of the deep-sea manned submersible Jiaolong and of the five-hundred-meter aperture spherical telescope (FAST) Tianyan, the launch of the dark matter probe satellite Wukong and the quantum science satellite Mozi, and the test flight of the airliner C919.

In material culture-loaded terms, the aforementioned Chinese innovations fall under the category of "names." Tiangong, Jiaolong, Tianyan, Wukong, and Mozi are all important cultural figures in China, representing advances in science and technology. The translators use inline annotation to further explain these terms, demonstrating the application of the Skopos rule. This type of explanatory inline annotation takes into account English readers' understanding of Chinese culture-loaded terms. It is a limitation of language form of culturally loaded terms that also facilitates international readers' understanding of Chinese cutting-edge technology. Though the length of the article is longer, semantic conveyance can be realized through the explanation that Tianyan is the five-hundred-meter aperture spherical telescope, and the purpose of the book of showing international readers China’s accomplishments is achieved. The original names are faithfully conveyed through transliteration of these advances in science and technology. On the one hand, international readers can still see Chinese culture embodied in cutting-edge technology. Readers from different cultures, on the other hand, can still understand what these terms are thanks to inline annotation, which follows the Skopos and fidelity rules.

In these examples, the fidelity rule takes precedence over the skopos rule. Material culture-loaded terms are typically objects with Chinese characteristics. In most cases, these objects will have no effect on the coherence of the target text. As a result, fidelity to the original text and facilitation of cross-cultural communication are given top priority. Transliteration and inline annotation are the most widely used methods for translating material culture-loaded terms, demonstrating that translators prioritize preserving cultural information and making target text easily understood by international readers.

====3.3 Translation Strategy of Linguistic Culture-loaded Words====
Linguistic culture-loaded words reflect phonetic meaning of language at the language family level. In contrast to English, Chinese language, particularly idioms, typically uses four-character structures. Linguistic culture-loaded terms can be found in a variety of contexts. Linguistic culture-loaded terms include idioms, classical literary prose, the two-part allegorical saying, proverbs, and so on. Linguistic terms that are culturally loaded are more difficult for international readers to understand. As a result, translators must employ translation strategies that are both effective and skillful in order to facilitate cross-cultural communication.

ST: 鸦片战争后，中国陷入内忧外患的黑暗境地，中国人民经历了战乱频仍、山河破碎、民不聊生的深重苦难。为了民族复兴，无数仁人志士不屈不挠、前仆后继，进行了可歌可泣的斗争。

TT: But with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression; its people, ravaged by war, saw their homeland torn apart, and lived in poverty and despair. With tenacity and heroism, countless dedicated patriots fought, pressed ahead against the odds, and tried every possible means to seek the nation’s salvation.

In this excerpt, “战乱频仍”，“民不聊生”, “仁人志士”, “不屈不挠”, “前仆后继” and “可歌可泣” are Chinese idioms, with distinct national characteristics in language structure and expression. These idioms have a distinct origin in Chinese culture and are inextricably linked to national culture. It is not necessary to find culturally equivalent idioms in English when translating these idioms. The Chinese nation and Western countries share a wide range of values and aesthetics. If too many idioms are used in English translation, the same tired formulas will appear. The translations of these idioms are divided into two categories based on the coherence and fidelity rule. The first is deletion, and the second is literal translation. These idioms are intended to demonstrate that, even in difficult situations, Chinese patriots are willing to press on, which has a low chance of causing cultural misinterpretation for international readers. As a result, “战乱频仍”, “民不聊生”, “不屈不挠” and “前仆后继” adopt literal translations that improved the original meaning and demonstrated how the fidelity rule is applied. “仁人志士” is translated as “dedicated patriots” because, while it originally referred to people who were charitable, its meaning later evolved to patriots, which is also translationally adapted to the context. This translation eliminates ambiguity and allows for a more coherent reading experience. Meanwhile, “可歌可泣” was removed while translators worked from a results-oriented perspective and demonstrated the outcome of their struggle, which is "tried every possible means to seek the nation's salvation." The coherence rule was followed in this case by making the reading process for the target text readers smooth and interrupted.

ST: 应该风雨同舟，荣辱与共，努力把我们生于斯、长于斯的这个星球建成一个和睦的大家庭，把世界各国人民对美好生活的向往变成现实。

TT: We are in the same boat, and we should stick together, share weal and woe, endeavor to build this planet of ours into a single harmonious family, and turn peopled longing for a better life into reality.

The translators used two translation strategies in the passage: literal translation and full implication. These strategies adhere to the Skopos rule. When translating “风雨同舟” and “荣辱与共”，the translators restore the meaning of the two idioms, because these two idioms are an essential part of the source text in the construction of meaning. However, “生于斯、长于斯” has been translated into “the planet of ours", demonstrating the adoption of full implication. “生” and “长” are part of the process, and this process is implicated in the “the planet of ours”, which is a result-oriented structure. The translators omitted the process and presented the end results to international readers, restoring the meaning, by employing various translation strategies. The use of various strategies exemplifies the Skopos rule of facilitating cross-cultural communication.

The examples above show that the coherence rule and the skopos rule can be found frequently in the translation of these linguistic culture-loaded terms. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded terms. Linguistic culture loaded terms are words or phrases with distinct Chinese characteristics; thus, most translators adhere to the Skopos of improving cross-cultural communication and use literal translation and inline annotation to preserve cultural value. In some cases, the linguistic culture-loaded terms are too difficult to restore their implication; therefore, the translators used deletion and full implication to improve the reading experience of international readers, demonstrating the importance of the coherence rule in the target text. With the impression that international readers will be unable to fully comprehend the meaning of such cultur3-loaded words unless they have a basic understanding of the Chinese social, ecological, and cultural environment, translators should shoulder the responsibility of selecting different translation strategies under the guidance of the Skopos theory and constructing a bridge between different cultures.

====3.4 Translation Strategy of Ecological Culture-loaded Words====

Ecological culture-loaded words reflect the climatic features, natural environment and geographical conditions in an area. People from various regions have distinct expressions that reflect regional characteristics. There are three major categories of ecological culture-loaded terms: animals, plants, and places. Cows and oxen, for example, are animals that represent diligence and industriousness in China, whereas in Western countries, the expression "work all day like a donkey" is common. As is well known, the geographical environment of China gives rise to an agriculture-based culture with a large vocabulary for animals and plants. It explains why many idioms in Chinese and English have completely different meanings. To help international readers fully understand different cultures, translators should use different strategies when translating ecologically and culturally loaded terms. The following examples will demonstrate the use of translation strategy.

ST: 坚定不移“打虎”、“拍蝇”、“猎狐”

TT: We have taken firm action to “take out tigers”, “swat flies”, and “hunt down foxes”.

In Chinese culture, the tiger is both a revered entity and a hunted beast. Tigers are used as a symbol of vigor and vitality in Chinese idioms such as “虎虎生威” (forge ahead with the vigor and vitality of the tiger) and “生龙活虎” (with furious energy). Nonetheless, there are numerous expressions and literary works in which tigers are portrayed as ferocious villains, such as the stories of Wu Song or Li Kui beating tigers. President Xi Jinping’s expression here is reminiscent of tiger figures in fiction, in which heroes battle tigers. The image of a tiger has various meanings in Western culture as well. On the one hand, it is associated with beauty and power, but it has also been referred to as a man-eater on numerous occasions. Tigers are described as “burning bright” and “dare seize the fire”, but it also appeared in Jim Corbett's adventures in India, where he used to hunt "man-eaters," including tigers. Because the images of tigers are so similar, the translators used literal translation in their translation strategy under the rule of fidelity. To save space, translators will use literal translation when a targeted language has words with the same or similar cultural meaning as the source language. Meanwhile, the ecological culture-loaded term revealed the Skopos theory’s fidelity rule. “打虎”, “拍蝇” and “猎狐” are expressions with Chinese roots. Fighting corruption is like fighting tigers, flies, and foxes. Tigers and flies can refer to corrupt officials at various levels in these expressions, while the original meaning of the source text is preserved. It is difficult to find words in Western culture that are culturally equivalent to these ecologically loaded terms. Therefore, the translators did not change the meaning of source text by using literal translation. Such selection of translation strategy shows how fidelity rule is applied.

ST: 深入开展调查研究，解剖麻雀，发现问题。

TT: We should conduct in-depth research to identify prominent problems.

In Chinese culture, there is an old proverb of “麻雀虽小五脏俱全”, which means “A sparrow may be small but it has all the vital organs”. Sparrows can represent small but vital items, whereas such expressions are difficult to find culturally equivalent terms in Western culture. The similarity between “解剖麻雀” and “发现典型” is understandable in Chinese, but the literal translation of “anatomy of a sparrow” may be difficult to grasp for an international audience. As a result, translators use deletion to make target text more fluent without affecting the original text, and the coherence rule is demonstrated in the translation strategy selection. The translation of “解剖麻雀” is omitted, and the translation of “发现典型” encompasses the extended meaning of “sparrow as the major problems”. If both terms are translated, the English expression will be reductant and not conform to English expressions. According to the coherence rule, the author omitted the explanation of why sparrow means prominent problems to facilitate readers’ reading experience and made the reading uninterrupted.

The example above show that when translating ecological culture-loaded words, translators would consider three rules of the Skopos theory, with the coherence rule taking precedence. It is most likely because most ecological culture-loaded words are names of places or animals, which may be unfamiliar to international readers. To ensure that target readers read in a consistent manner. In translating ecologically loaded terms, the translators use literal translation (including transliteration, implication, and deletion). The mixed-use of translation strategies revealed various rules that are used in translation.

===4. Conclusion===

Since the publication of ''Xi Jinping: The Governance of China (Volume III)'', it has served as the Chinese government's authoritative voice and a window for the rest of the world to understand China's policies. It crystallizes Chinese governance theory and practices and has high research value.This thesis is concerned with the classification of culture-loaded words, their translation strategies, and how these strategies demonstrate the application of three Skopos theory rules.

The Skopos theory, according to the analysis of these examples, can be used as a guiding principle for translating texts similar to those in ''Xi Jinping: The Governance of China (Volume III)''. The Skopos rule states that the translation strategy is determined by the purpose of the target text. The coherence rule, also known as intertextual coherence, requires readability in the target text and will not cause dyslexia in grammar or logic. Using the fidelity rule, the target text should be faithful to the original text. However, the fidelity rule does not require literal word-for-word translations; rather, it necessitates flexibility on the part of the translator.

Following a brief examination, it is discovered that culture-loaded words in ''Xi Jinping: The Governance of China (Volume III)'' can be divided into four major categories, with social and linguistic culture-loaded words accounting for the lion’s share. The coherence rule is frequently demonstrated in the translation of ecological culture-loaded words. Names of places or animals are examples of ecological culture-loaded words. To achieve coherence in the target text, the translators employ literal translation (including transliteration), implication, and deletion strategies when translating ecological culture-loaded words. The fidelity rule and the Skopos rule are frequently seen in target text when translating material culture-loaded words. The majority of material culture-loaded words are objects with Chinese characteristics. Transliteration and inline annotation are the most widely used, demonstrating that translators prioritize being faithful and making target text understandable to international readers. The translation of social culture-loaded words demonstrates a high level of adherence to the coherence and Skopos rules, which is likely due to the fact that social culture-loaded words differ greatly across cultures. The majority of social culture-loaded words were deleted, literal translated, or annotated inline. These three strategies promote coherence in the target text, making it easier to read and comprehend. Linguistic culture-loaded words are words or phrases that have distinct Chinese features. When translating terms of this nature, the translator usually adhered to the coherence and Skopos rules. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded words.

To sum up, different translation strategies are very important and indispensable. Different translators would adopt different translation strategies when translating culture-loaded words due to the constraints of history, politics, culture, language and translation objectives. In order to better carry out the translation and transmission of literature and culture, different translation strategies should be used together to supplement each other.

===References===
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Reiss Katherina, Vermeer Hanss J. General Foundations of Translation Theory[M]. Tubingen： Niemeyer, 1984.

王建国. 汉英翻译学：基础理论与实践[M]. 北京：中译出版社，2019.

习近平. 习近平谈治国理政(第三卷)[M]. 北京:外文出版社，2020.

习近平. 英文翻译组译校. 习近平谈治国理政(第三卷) XiJinping on Governance[M]. 北京:外文出版社，2020.

张海燕.文化转向视角下的《习近平谈治国理政》核心术语英译特色解析[J].天津外国语大学学报,2021,28(05):77-88+159-160.

栗慧敏,牛桂玲.中央文献翻译与传播研究的现状与趋势——以《习近平谈治国理政》为例[J].民族翻译,2021(04):22-32.DOI:10.13742/j.cnki.cn11-5684/h.2021.04.004.

吴霜,何泠静.交际翻译理论视角下文化负载词英译研究——以《习近平谈治国理政》英译本为例[J].汉字文化,2020(23):127-129.DOI:10.14014/j.cnki.cn11-2597/g2.2020.23.061.

高慧贤,张浩,王浩勇.目的论视角下《治国理政》儒学文化负载词英译研究[J].作家天地,2020(07):58+60.

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李文博.基于读者反应论视角下汉语文化负载词的韩译研究——以《习近平谈治国理政》为例[J].国际公关,2020(06):172-174.DOI:10.16645/j.cnki.cn11-5281/c.2020.06.104.

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Culture loaded words

2021-12-14T07:33:00Z

Cheng Yang: /* 13 Translation of Cultural-loaded Words in Border Town:A Case Study of Dai Naidie’s English translation */

'''Culture Loaded Words'''

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=1 羊叶 The Analysis of Culture-loaded Words of English Subtitle Translation in Chinese Movies-Taking Farewell to My Concubine as an Example =
[[Cult_Load_Words_EN_1]]

电影中英译字幕文化负载词的翻译分析——以《霸王别姬》为例
=== Abstract ===
Nowadays, popular films are increasingly active on the Internet. Confronting such a mass need for film translation, subtitle translation is winning more favor compared with traditional dubbing translation. This paper, taking Farewell My Concubine as an example, analyzes the strategies and methods of translating culture-loaded words. The conclusions are as follows: In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

=== Key Words ===
Subtitle Translation; Farewell My Concubine; foreignizing method; domesticating method
=== 摘要 ===
如今，电影在互联网上越来越受欢迎。比起传统的配音翻译，字幕翻译更受青睐，电影对字幕翻译的需求巨大。本文以电影霸王别姬为例，分析翻译文化负载词时所用的翻译策略和翻译方法。结论如下：就译者而言，翻译者需精通中文和英文两种语言；就翻译策略而言，归化与异化两者对立且相互统一，没有绝对的归化、异化之说；就翻译方法而言，在翻译文化负载词时，贾佩琳主要采用了意译、直译、具体化、一般化、省略等翻译方法，成功地保留和传达了北京方言和京剧的国粹部分。
=== 关键词 ===
字幕翻译；霸王别姬；异化；归化
=== Introduction ===
1.1Research Background

Innovation of information technology brings energy for the advancement of broadcasting ways of film and television programs. More and more foreign popular films are increasingly active on the Internet; more and more local films with Chinese elements are also introduced abroad. Researchers on subtitling translation are becoming more and more important.
China's Opening-up and Reform facilitates the cultural communication between China and the outer world. In the introduction of foreign films and TV plays, language understanding becomes an obvious barrier for audiences. Two major solutions to solve such a barrier are dubbing and subtitle translation. "Subtitles sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen." Relatively, the latter one is more favorable than the traditional dubbing way because of its cost-effectiveness, short producing cycle and audience-acceptability. With higher educational background and foreign language level, many Chinese audiences expect that films can be displayed with “a natural and original flavor” nowadays.
Under such circumstances, subtitle translation seems to be more acceptable to get access to foreign audience. Among so many elements involved in the subtitle translation process, the translator plays the most significant part, thus becoming a key and central element in the subtitle translation system. Therefore, a good subtitle translation with “a natural and original flavor” sets high and strict requirements for the translator.（Liao, 2000: 231）

1.2 Brief Introduction to Farewell My Concubine

Farewell My Concubine, the film version adopted in this thesis is the 1993 one whose heroes and heroines are Duan Xiaolou (acted by Zhang Fengyi), Cheng Dieyi (acted by Zhang Guorong) and Ju Xian (acted by Gong Li) respectively. In the film, Xiaolou and Dieyi are fellow apprentices learning Beijing opera performance together from childhood. Later on, their cooperation in the opera Farewell My Concubine makes them famous overnight throughout Beijing city. Thereafter, they make a promise to each other that they will perform Farewell My Concubine together as long as they are alive. However, their different understandings of the relationship between the opera and life finally lead to their different choices: Until mid-age, Xiaolou deeply knows that the opera isn't his whole life, so he gets married with a famous whore called Juxian; Dieyi, however, becomes totally immersed in the complicated plots and role relationships of the operas, especially Farewell my Concubine. Around such a classic and famous opera, the love and betrayal among them become escalating with the changes of times and eventually develops into a tragedy.
It is the first film that won the Golden Palm Prize in mainland China. It has been keeping the highest-grossing record of Chinese melodrama movies in America which also marks the climax of Chinese films in America. Meanwhile, it also got great box-office successes in such countries as Japan, Germany, Korean, France and so on. It should be concluded that Farewell My Concubine has achieved great success both in the art and business.
In Farewell My Concubine, Beijing Opera art is the central cultural element. It is a typical representative of classical Chinese literature art. Taking it as a case study, general and concrete subtitle translation strategies can be concluded to improve translation quality of similar subtitle translation works.

1.3 Brief Introduction to translator Linda Javin

Linda Javin, the subtitle translator of Farewell My Concubine, is a suitable and qualified person for both the director and the audiences. Since 1976, Linda has been playing an important and active role in broadcasting, studying and exploring Chinese culture. As an internationally renowned sinologist, translator and writer, Linda Javin has made great efforts in learning, feeling and appreciating Chinese culture. It is really a tough time full of difficulties and hardships under the specific social conditions then. After years of efforts to learn Chinese language, history, literature and many visits to China, Linda has begun to embark on her Chinese literary writing career recently. All these can prove that she is really a competent and qualified subtitle translator of Farewell My Concubine. Her wonderful bi-lingual and bi-cultural competence does give her favorable advantages in translating.

=== Analysis the Translation of Culture-loaded Words ===

2.1 Introduction to Culture-loaded Words

Gonzalez Davies and Scott-Tennent (2008, p.783) put forward a definition of cultural references in detail, which is "expressions (audiovisual, verbal, textual,
non-verbal) that are concerned with ecological, material, religious, social, emotional, and linguistic manifestation. In addition, these expressions are specific to a particular community, and they are recognized as a particular feature of that community. Such expressions, however, may lead to difficulties in comprehending these words or translating these words." And in China, a scholar defines it as "the words, phrases and idioms that mark the unique things in a culture." These words reflect the unique way of activities gradually accumulated by a specific nation in the long historical process, which is different from other nations.（Liao, 2000: 232）

It is more diverse to classify Culture-loaded words because China is an ancient national with a history of more than 5,000 years. In this course, many Culture-loaded words have accumulated continuously. Among all the materials, some scholars divide Culture-loaded words based on specific elements such as language and culture. Since different scholars hold different views on the classification of Culture-loaded words, and hence the fist can go on and on. Here is a well-accepted way by Nida. Nida (1945, p.196) divided language and cultural characteristics into five categories:(1)Ecological culture; (2)Material culture; (3)Social Culture; (4)Religious Culture; (5)Linguistic Culture.

2.2 The Features of Subtitles in Farewell My Concubine

Through comparison and analysis, the main language features of the Chinese lines of Farewell My Concubine are concluded as below: concise but emotional dialogue; strong Beijing Opera and Beijing dialect flavor; sharp but implicative expressions; rich of slang and idioms. All the features are drawn from the corresponding lines in the film and all these analysis in the language following features will be illustrated combining with the specific case interpretation. Thus, different translation strategies at different levels can be generalized and concluded to cater for the different language features.

The film takes place in Beijing and is thus featured with rich local color. The most obvious feature is the use of Beijing dialect. Beijing dialect is the basis of standard Mandarin, but there are some differences that make it easy for Chinese people to recognize which is which. Most prominent difference in phonology is the proliferation of rhotic vowels which results from the non suffix “儿” in vocabulary, Beijing dialect has a lot of words that are considered slangy and therefore occur much less or not at all in standard Mandarin. Some non-Beijing natives find it hard to understand what most of them mean, let alone foreigners. A dialect tells about the user's social class, status, profession, and many more. That is why so many translators are taking pains.

Beijing Opera is exactly a colorful part of the film has depicted. Beijing Opera was formed during the period of Daoguang(1821-1850). At the beginning, actors from Chu Opera such as Wang Honggui and Li Liu came to Beijing to perform in the Drama of Hui School. Later, combined with Erhuang melodies and Xipi melodies, in the same time, actors also absorbed the advantages of Kun, Beijing and Qin tunes from their respective schools. Beijing dialects were adapted to adapt to Beijing customs. Thus, it took shape initially. Gradually Beijing Opera developed into the most influential opera in the country. The characters in the whole film have a strong Beijing accent, and many opera excerpts in the film such as Farewell My Concubine, Peony Pavilion and Drunken Imperial Concubine are presented for many times. So it is inevitable to translate many professional terms.

2.3 Cases for Analysis

2.3.1 Brief Introduction to Translation Strategies

Before the specific analysis, let's have a understanding of two basic concepts of domestication and foreignization, which are important strategies in translating culture-loaded words.

The translation theory of domestication and foreignization was first put forward by Schleier Macher, a famous German translation theorist. In his book published in 1813, he put forward that there are only two ways of Translation: one is to guide the readers to get to know the author as much as possible; the other is to guide the author to get to know the readers as much as possible. In 1995, Lawrence Venuti, an American Italian translator, wrote in his important work The Translator's Invisibility, the first method described by Schleier Macher is called "foreignizing method" and the second method is called "domesticating method". That is to say, domestication is oriented by target language, while foreignization is oriented by source language.

As for Linda Javin, she once mentioned in an interview that in the face of the cultural essences in the lines, she adhered to the strategy of domestication in her translation and did not deliberately maintain the oriental flavor contained in the dialogue. Frankly speaking, she doesn't appreciate the way of retaining Pinyin combinations and then adding a lot of notes to make foreigners understood. If Chinese is pleasant to the ear, don't let the expression heard awkwardly in English. So the simplicity and directness are put above everything else to make it easy for the audience to understand.

2.3.2 Cases of Translation Methods

2.3.2.1 Literal Translation

As one of the common methods of translating culture loaded words, literal translation is to translate the source text according to the literal order or meaning, which can retain the original characteristics of Chinese language and culture.

E.g.1世卿世受国恩

岂敢昧法？

更不敢当众违背天理良心。

The government has always been good to me,

I wouldn't dare deceive the court.

Nor would I betray the laws of Heaven or my own conscience.

“天理”“良心” are terms that are quite commonly-used words in China. From literal works to daily talks, from traditional plays to modern films, such kind of expressions are useful guidelines to arouse Chinese People's self-reflection. They are invisible ethical rules guiding people's behaviors. Since they are so local and traditional, it's not surprising that it is a little complicated for foreign audiences to figure them out. Based on the "literal translation" principle, Linda brings "Heaven" into her translation. In Christian culture, "Heaven" serves as the source of various moral concepts and systems. "Heaven" and "God" are existed to guide and restrict people's behaviors. Linda's translation has wonderfully adapted to the target eco-environment and is really worthy of referencing of the subtitling workers and learners.

E.g.2磨剪子来，镪菜刀

Bring your knives for sharpening? Sharpen your knives.

Sharpening knives is a traditional craftsmanship that is disappearing in China. Their dreich yo-heave-ho can evoke many people's memories of childhood. Such lively lines full of traditional Chinese cultural elements, on the one hand, are not so easy to translate; on the other hand, deserve more efforts for the foreign audiences to figure out. Considering all these factors, Linda pays attention to the retaining of its central meaning. Actually, a more literal translation method "Sharpen your scissors, sharpen your knives" may achieve more active functions here. It's the easiest to understand, and it can save viewing and thinking time as well. As for some complicated cultural terms, the best way, the easiest as well, maybe literal translation, which can avoid misunderstanding and superfluous deducing. Finally, they benefit a lot to saving viewing time.

E.g.3什么时候洞房花烛夜啊？

What’s the time of Candle-lit-night in the Bridal Chamber?

“洞房花烛夜” is a typical expression in ancient times of China, which means the golden night of the new husband and new wife on the day they get married. The night usually is beautiful and memorable and it is the first night the new couple. As for this line, Linda did not specifically explain what is the “洞房花烛夜” , instead she use the literal meaning to depict a picture of the special night, translating “花烛夜” to “Candle-lit-night”, which is so warm and beautiful.

E.g.4横扫一切牛鬼蛇神！

Sweep away all Cow Demons and Snake Spirits!

There is an article titled “Sweep away all Cow Demons and Snake Spirits!” published on the People's Daily on June 1, 1966, which marked the climax of the Proletarian Cultural Revolution. The "Cow Demons and Snake Spirits" represents the old ideas, cultures, customs and habits that have poisoned Chinese people for thousands of years. Under the call of the Party Central Committee and Chairman Mao Zedong, hundreds of millions of workers, peasants and soldiers, revolutionary cadres and intellectuals, swept away a large number old things entrenched in the ideological and cultural position. Its momentum is like a storm, with extraordinary rapidity, breaking the spiritual shackles imposed on them by the exploiting class. Using “Cow Demons” to express “牛鬼”, “Snake Spirits” to express “蛇神” is direct, clear and distinct.

2.3.2.2 Free Translation

Free translation is the translation by meanings. That is to say, the translation is done according to the real meanings of a sentence or even a paragraph, instead of completely word to word.

E.g.1他祖师爷不肯赏饭吃，谁也没辙。

But I have no place for him. What can I do?

“祖师爷” is similar to "forefathers" to some extent in China's history. Without knowledge of the specific historical period, foreign audiences won't understand its exact meaning. Perhaps we can understand it as "destiny" "fate" or "god" of western culture, there are still cultural differences between them. From the plots in the film, we know that Mater does not want to accept Little Bean as his disciple, so he explains that Little Bean is not destined to be an actor. From this perspective, "destiny" is the most ideal choice to express the original meaning. Considering all these factors, Linda uses the strategy of "free translation" to put it as "I have no place for him" to refuse Little Bean's mother. Thus, she makes the lines easier to understand, and meanwhile, to avoid leading to a cultural misunderstanding.

E.g.2今儿个是破题儿，文章还在后头哪！

This is just the beginning. Wait till you see what's in store.

“破题” once appeared in "Romance of the Western Chamber” by Wang Shipu, a playwright of Yuan Dynasty. Since then, it has been widely used in various circumstances to refer to "the first time". From the translated version, it's clear that the translation of “破题” as "beginning" exhibits that the subtitle translator, Linda Javin, is quite familiar with the usage of the old Chinese words.

E.g.3真他妈想当太太奶奶啦你！

做你娘的玻璃梦去吧。

你当出了这门，把脸一抹擦，你还真成了良人了？

So you want to become a rich man's wife!

Go live out this goddamn fantasy' then

Don't think that when you walk out this door, you'll become a lady of virtue.

“太太奶奶” has different meanings in China in different social contexts. Without thinking or checking it, it's easy to translate it as "grandmother" "lady" or something like these. Besides, “良” means "good, kind", but here, “良人” doesn't mean "a good, kind or nice-hearted person", instead, it refers to the woman who has abandoned prostitution and become a traditional honest and good woman. Linda's translation of "a lady of virtue" is quite authentic and loyal to the original text.

E.g.4那么日后踏雪访梅，再谈不迟。

Ah, then we shall exchange poetic thoughts some other day.

“踏雪访梅” extracted from Night Vessel, written by Zhang Dai of Ming Dynasty. Originally, it's used to refer to describe the enjoyment with the beautiful scenery and the pursuit for wonderful poems of the ancient poets. In Farewell My Concubine, Mr Yuan invites Xiaolou and Dieyi to his house to have some wine and chat about certain details of the opera. The latter example is also full of cultural terms, which is said by Nakun when he tries to encourage Dieyi to talk with Xiaolou hurriedly and actively. In both examples, Linda deals with the cultural elements skillfully and flexibly.

E.g.4这武二郎碰上西门庆，不打，不打能成吗？

You know the old story about Pan Jinlian's husband meeting the man who screwed her? Did he have any choice but to fight?

It's an old story about Pan Jinlian and his husband in ancient China. When performing translation, a translator needs to place the specific written text under some relative social and cultural backgrounds. This is useful and meaningful for a better and comprehensive expression of the original meaning. The story of “武二郎”“西门庆” is typically traditional Chinese cultural element, the translated text can't be formed without relative culture knowledge. For some literary allusion, stating its general meaning to offer a general idea is very helpful for the audience to grasp the central meaning.

E.g.5这妞够厉害的呀！

What a dragon lady!

Different cultures have different cultural prototypes. Dragon is a propitious symbol in China. As a Chinese totem, all Chinese people see themselves as the grandsons of the dragons. It's a positive and lucky symbol for Chinese people. However, because of the cultural differences, the "dragon" in Western countries means more evil than good. Its fierceness and grisly outlooks make people feel uncomfortable. Thus, "a dragon lady" here, on the one hand, can show Ju Xian's courage for true love; on the other hand, the image of "dragon" can clearly show to the foreign audiences that Ju Xian is at the bottom of the society and she is despised by the social group. Linda's choice of "dragon" clearly shows her comprehensive consideration for the complicated circumstance then.

E.g.6关师父：各位爷，多捧场了啊!

Master Guan: Ladies and gentlemen, enjoy the show!

“各位爷” is a conventional Chinese way to address the male spectators with respect. However, in English, there is no such a counterpart. Therefore, the translator substitutes it with "Ladies and gentlemen", a conventional way to address the audience of a performance in English. “多捧场了啊” is also conventional in indicating the beginning of a show and literally means "support our show". However, the English convention has it as "enjoy the show." The translator thus conforms to target conventions to avoid deviation from audience's "expectancy norms" which are established by the native text in the receiver target of the translation, by their expectations of what a target language should be like.

E.g.7小石头：嗬，够横的你。

Shitou: You are really something.

“横” in Beijing dialect means harsh and unreasonable, "Be (quite or really) something" is an informal expression referring to a person or a thing is of consequence. In the above example, the replacement of “横” by "be really something" shows that Shitou is impressed by Douzi's arrogance and reveals Shitou's generous nature. Although his kindness to offer a sleep place to Douzi is unappreciated, Shitou does not say something harsh. If it is translated into "You're unreasonable", it would be too straightforward.

2.3.2.3 Generalization

Generalization is defined as the type of modulation in which the dissimilarity between source text and target text transemes is characterized by a shift towards greater generality in target text; as such it contrasts with the opposite phenomenon of specification. Generalization is acceptable if target text has no suitable alternative, or if the omited detail may be gleaned from the target text context or is just not important.

E.g.1不罚，不罚你永远是下三滥。

还想成角？做梦。

And if I don't punish you, you'll always be third-rate.

You want to be a great actor? Dream on!

“下三滥” is a traditional Chinese expression that describes some impuissant and footling people in the lower class status in China. To avoid misunderstanding of it, Linda just translates it as "the third rate", simply and concisely. As for “角”, it's a technical term specially used in dramatic performance referring to leading roles in dramas. But “成角” here means becoming a famous actor or actress. Linda's translation retains the most important and essential meaning.

E.g.2依我看，只要是唱西皮二黄，它就是京戏。

I say if it uses the traditional forms, then it’s the Beijing Opera.

"Xipi Erhuang" is a professional term in drama. "Xipi" and "Erhuang" refer to two different vocal cavities respectively. Xipi originated from Qin opera. Its singing is lively and high pitched, generally being used to express cheerful and excited feelings. Erhuang comes from Anhui. The tone of Erhuang is more stable and serious. In the development of drama, Xipi and Erhuang went through a process of slow integration. If the translator transliterates the tones of "Xipi" and "Erhuang" respectively in the subtitles, on the one hand, the audience without the knowledge of Peking Opera can not understand it completely; on the other hand, the subtitles have space limitations, and the letter translation should not be too long. Here, Linda generally translates it as "the traditional forms" to give the audience an abstract understanding.

E.g.3反正这两杯子也沾上了四旧了

Anyway, jade cups were part of the old society

With abundant political background, on August 8th, 1966, as the film mentioned “in the era of Communist revolution, the on-going Great Proletarian Cultural Revolution will be a revolution that reconstructs people’s mind”. "四旧" as a derogatory word, refers to the collective name and general designation of old ideas, including old culture, old customs and old habits. For a time, streets, factories, communes, time-honored stores and schools were changed into revolutionary names such as "Anti-road Construction", "Dongfeng Store" and "Red Guard War School" , destroying the authority of "bourgeois reactionary academic authorities" such as scholars, writers, artists and scientists. Violence became commonly seen in the streets. Instead of illustrating what is “四旧”, Linda chose “old society” to generally express the real social situation at that time, almost everything should be put out the label of “old, bad” to be accused and criticized.

E.g.4尘世中，男子阳污，女子阴秽

There is foulness in both men and women.

This sentence comes from the mouth of Mr Yuan, a drama addict. The word "尘世" is unique to Chinese. It is used by Buddhists or Taoists to refer to the world, with a deep religious color. However, the main religious belief in western countries is Christianity, and "尘世" has no corresponding word in English. In this sentence, Linda translated the sentence into existential sentence, which is a good way to generalize the meaning of the word. In fact, this sentence means that in the eyes of people who believe in Buddhism or Taoism, men and women on earth are all dirty. If the translator rigidly corresponds "阳污" to "man" and "阴秽" to "woman", the translation will only overlap meaning, resulting the translation not authentic.

E.g.5来给师哥勾勾脸

Will you give me a hand with my make up?

The facial makeup in Peking Opera is a special makeup method. The traditional facial makeup mainly refers to clean facial painting. "勾脸" is one of its painting techniques. In order to let the audience clearly understand the meaning of dialogue, it is literally and generally translated as "make up".

2.3.2.4 Specification

Specification is distinguished from the other type, generalization, in that here the shift which occurs between source text and target text in the direction of a higher level of explicitness. In other words, a shift towards greater specification will produce a transeme the meaning of which is made more precisely, by either the addition of extra words or the use of words with a less general meaning.

E.g.1别介，都是下九流谁嫌弃谁啊

Don’t be foolish. Prostitutes and actors are equally despised by society.

The mother (prostitute) of the little boy (Cheng Dieyi) took him to the troupe and hoped that the master would accept him. After seeing the little boy's sixth finger, the master said he had no gift to sing. So the mother knelt down (sexually) and hinted that the master would benefit as long as he accepted the disciple. So the master said this sentence. There is a saying of "三教九流" in ancient China. The three religions here refer to Confucianism, Taoism and Buddhism. The nine religions are divided into upper, middle and lower levels. The translator does not directly translate the "inferior" but translates the contents of the reference, which not only makes the meaning more thorough, but also does not increase the viewing obstacles of the audience.

E.g.2小爷我今儿练的是九转金炉的火丹功。

I have been practicing Kungfu to keep myself warm.

When dealing with those terms with strong cultural meanings, it's proper and wise to conclude some specific tiny terms into a general broader concept. As a result, the translator can save efforts; the audiences can get the general meaning without being entangled in those unimportant tiny details. Kungfu in the translated text, though fails to express the original Taoist cultural meanings, it really saves much screen space and viewing time, thus, it's easier for foreign audiences to understand.

2.3.2.5 Omission

Being opposed to "addition", omission means that some words in the original text do not need to be translated, because although there are no specific words in the translation, potential meaning has been shown. In other words, omission is to delete some unnecessary words, or words that are cumbersome or contrary to the language habits of the translation. But omission does not delete any ideological content of the original text.

E.g.1各位爷都站好甭动。真钱买真货。我小石头今儿个玩儿真的,让爷儿们都开开眼。

I'll give you something to look at.

This scene describes Little Stone and his partners was performing in the street to earn money, but no one gives a reward. In order to attract the audience, Little Stone decided to perform a wonderful show. He decided to hit his head with a brick, so he said the above lines. Because the morpheme of the actor is fast, the picture switches to that he hits his head with a brick as soon as the voice falls, so the translator uses a short sentence to express it. This not only does not affect the audience's viewing of the wonderful picture, but also completely expresses the semantics.

E.g.2他这一亮相,那台底下听戏的人不都吓跑了。

He would scare off the audience

This line is what Master Guan said to Little Bean's mother when he found an extra finger on Little Bean's right hand. While speaking this line, Master Guan stretched out his right hand and made an appearance of being on the stage. Therefore, if the translation of "his appearance" is omitted, this meaningless information vocabulary can be deleted naturally, which does not affect the audience's understanding of the plot at that time, also does not deviate from the meaning of the original lines, and will not cause the audience's confusion. It is a good way to accurately convey the information and let the audience understand the content of the film.

E.g.3陈:唉，袁四爷今儿个来看戏

段:没见我盖着唢呐唱吗？把血都挣出来了

Chen: So, Master Yuan has come to see us tonight.

Duan: I know. I sang so loudly I drowned out the horns.

“今儿个” is a typical time indicator in Beijing dialect. It usually refers to "today". In view of the context, it can also be translated as "tonight". In translating Duan's response, the translator tries to relay its meaning than to represent its form. She omits “把血都挣出来了”，also a typical dialectal expression, which literally means "drive the blood out" and "do very hard" in the real sense. "I sang so loudly" is added to facilitate understanding. The translator also makes efforts to find the most understandable way from the target culture.

===Conclusion ===
3.1 The Conclusion

In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. The translator, the recreator of dialogues in the process of translation, should choose the most appropriate translation strategy to reconstruct the meaning of the original text. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

3.2 Advice

Due to the cultural differences behind translation, some films cannot achieve the same effect abroad as at home. It is true that the two important purposes of subtitle translation are to provide the audience with plot information and to convey the cultural connotation contained in the film. Plot information is the premise of cultural connotation. If the audience of target language cannot understand the plot, it is difficult to achieve cultural communication. Therefore, in the face of handling with culture-loaded words in subtitles, the translator should focus on the purpose of information, put letting the audience understand the film content above everything else, and then give consideration to the cultural purpose.

The subtitle translation in Farewell my concubine mainly adopts the domestication strategy rather than foreignization. Truly speaking, foreignization can retain the cultural characteristics of the original language in translation, making the readers of the target language feel the exotic customs and the unique charm of the source culture. Foreignization could be taken as a means of resistance to the cultural colonial policy of the strong culture, break its "domestication" and strive for winning a place for the weak culture in the forest of global culture. Therefore, there is still a long way for Chinese translators to spread Chinese culture to the countries abroad.

===References ===
Xiao Xiang. The Transmission of Peking Opera Culture in the English Subtitle Translation of Farewell, My Concubine[J]. Frontiers in Educational Research, 2020, 3.0(13.0)

Nan Wan. Subtitling and its Acceptability in the Film Farewell, My Concubine: A Multimodal Approach[J]. Advances in Language and Literary Studies, 2019, 10(6) : 94.

Zhang Kaijuan张凯娟. 电影字幕翻译中的语域对等研究[D].西南大学,2019.

[4]徐敏. 电影《霸王别姬》的汉英影视字幕翻译评析[D].浙江工商大学,2014.

[5]金海娜.从《霸王别姬》到《一代宗师》———电影译者Linda Jaivin访谈录［J］.中国翻译，2013，34（04）.

[6]杜阿晴.目的论视角下电影字幕中文化负载词的翻译——以电影《霸王别姬》《风月》为例[J].福建教育学院学报,2013,14(04):94-97.

=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =
[[Cult_Load_Words_EN_2]]

谢庆琳 Xie Qinglin, Hunan Normal University, China

=== Abstract ===

Language is a product of culture, an integral part of it and a condition of its existence, and an important factor in the formation of cultural codes. Since the 21st century, linguistics has actively studied a direction that sees language as a code for understanding the culture of a nation, not just as a tool for communication and cognition. As we all know, there are certain cultural differences among various ethnic groups influenced by factors such as geographical environment, political system, religious beliefs, living habits, moral values and aesthetic interests. These factors together contribute to the creation of culture-loaded words. The translation of culture-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture while faithfully conveying the essence and soul of the translated culture to the readers of the translated language to truly communicate with different cultures. The translation of culture-loaded words directly affects the understanding of readers of the translated work, and also influences the readability and literary quality of the work. The study of Chinese translation of Russian culture-loaded words from the perspective of cultural load words not only promotes the communication between Chinese and Russian languages, but also deepens the cultural understanding between Chinese and Russian people.

=== Key Words ===
Russian Culture-loaded Words; Translation Principles; Translation Strategies

=== 题目分析俄语文化负载词的中文翻译 ===

=== 摘要 ===

语言是文化的产物，是文化的组成部分和存在条件，也是文化密码形成的一个重要因素。 21世纪以来，语言学积极研究一个方向，即把语言看作是了解一个民族文化的密码，而不仅仅是一个交流和认知的工具。众所周知，各民族受地理环境、政治制度、宗教信仰、生活习惯、道德价值、审美情趣等因素影响，其间存在一定的文化差异。这些因素共同促使了文化负载词的产生。文化负载词的翻译要求译者准确恰当地理解异国文化中的信仰、习俗、审美及价值观等的同时，忠实地将译语文化的精髓与灵魂传递到译语读者面前，真正做到不同文化的交流。对文化负载词的翻译会直接影响译文读者对作品的理解，也影响着作品的可读性及文学性。从文化负载词的角度来研究俄语文化负载词的中译不仅推动中俄两国语言的沟通，同时对加深中俄人民之间的文化理解也具有重要意义。

=== 关键词 ===
俄语文化负载词；翻译原则；翻译策略

=== Introduction ===

After the 1970s, cultural factors were gradually incorporated into the scope of linguists' studies, and cultural studies became a topic of common concern for linguists and translators. Susan Bassnett (1990), the core representative of the cultural translation concept, believes that translation is an exchange between cultures, and the reciprocity of translation should not only realize the reciprocity of language forms, but also pursue the reciprocity of cultural functions between the original text and the translated text. Therefore, translation is not only an act of purely linguistic conversion, but also a reflection of the cultural meaning of language. Language is a means of communication of human thoughts and feelings, and it is both a carrier and an important part of culture. In the process of historical development, countries around the world have formed large or small cultural differences due to different geographical environments, political rule, religious beliefs, traditional customs, lifestyles, value orientations and aesthetic interests. These factors have together contributed to the creation of a large number of cultural-loaded words. Each language has its own cultural vocabulary with cultural color and connotation, and these words reflect the cultural values of each nation. Because they are loaded with special national cultural connotations, cultural-loaded words often constitute the focus and difficulty of translation as an act of intercultural communication, and even become a barrier to the transmission of information.

Guided by American translator and translation theorist Eugene Nida's theory of functional equivalence, this paper takes the Russian as an example to explore the cultural information carried by the cultural-loaded words in its subtitles and summarize its translation method. The translation of cultural-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture, while faithfully transmitting the essence and soul of the translated culture to the readers of the translated language, so as to truly communicate with different cultures. The study of Chinese subtitles of Russian TV series from the perspective of cultural-load words not only promotes the communication between Chinese and Russian languages, but also has great significance in deepening the cultural understanding between Chinese and Russian people.

The paper consists of an introduction, three chapters and concluding remarks. The introductory part firstly describes the feasibility, theoretical significance and practical significance of this research, and then clarifies the novelty of this research. The first chapter briefly outlines the concept of cultural-loaded words, and classifies cultural-loaded words according to Eugene Nida's functional equivalence theory, laying the foundation for the translation study of cultural-loaded words later on. Chapter 2 analyzes in detail the cultural-loaded words appearing in “Intern”, and discusses the translation principles and translation strategies of cultural-loaded words. The third chapter analyzes the causes of mistranslation and difficult-to-understand cultural-loaded words in “Intern”. The concluding remarks summarize the content of the whole text.

=== Culture-loaded Words ===

==== Definition of Culture-loaded Words ====

Culture-loaded words are also called culturally connotative words. In the language system, culture-loaded words are the vocabulary which can best embody the cultural information that a language carries and they also reflect the social life.

Behind each vocabulary are deeply imprinted the cultural, geographical and historical characteristics of a society. Vocabulary is the basic element of language,and the formation of each vocabulary is inseparable from culture. It carries a largeamount of "national cultural accumulation", that is, cultural connotation. This article is an analysis of Russian cultural-loaded words, reflecting mostly about the Russian national culture.

Language is the carrier of culture, so cultural differences must also be reflected in language. Translation means the spread of culture, and words that carry culture are words that express culture. Therefore, the translator focuses on the cultural-loaded words that appear in the source text, and on this basis. The words containing language and culture reflect the development, progress and change of the language of a country's dynasties, as well as the accumulation of various activities that are completely different from other countries (Liao, 2002). Translating social cultural terms and ecological cultural terms can truly understand the living conditions and social conditions of a country in a specific period.

==== Classification of Culture-loaded Words ====

According to Naida's classification of cultural factors, cultural load words are divided into five categories: the first category is ecological cultural load words, which usually refer to words related to plants, animals, climate, etc. of a specific region, for example, a small twisting path is not used in the Russian language environment, such as “羊肠小径”. The second category is material cultural load words. For example, “轿子” refers to a human-powered means of transportation in feudal China, which does not exist in Western countries. The third category is the social cultural load words, which usually involve words of social etiquette, social identity and leisure, such as kneel three times and kowtow nine, the dragon boat festiva, which are unique to Chinese culture and tradition. The fourth category is religious cultural load words, which are generally words reflecting the cultural beliefs of a certain nationality, such as “八字”(horoscopes), “算命先生”(fortune-teller), and so on. The fifth category is language-based cultural load words, which reflect the different ways of speaking and habits of different ethnic groups in terms of phonetics, vocabulary, syntax and so on. For example, the name of a person, the use of idioms, and so on.

=== Translation Principles and Strategies of Russian Culture-loaded Words ===

==== Translation Principles of Russian Culture-loaded Words ====

===== The Principle of Faithfulness to the Original Text =====

Fidelity to the original text is one of the most basic principles and standards of translation. When translating cultural-loaded words, two points should be clear: on the one hand, we can not add some cultural meanings in the translation process based on our own conjecture. On the one hand, it is not possible to attach some cultural meanings to the translation process that are not intended by the author of the original text. For example, the Russian word for rabbit (заяц) has a negative cultural symbolism and is considered to be a symbol of evil and cowardice, while
In the passage of «Судьба Человека»: "… а я уже на ничьей земле между воронками петляю не хуже зайца" (李世俊，张永全等: 1999), a soldier tells how he bravely and wisely crossed the German lines. The rabbit is used here only to borrow the positive image of its quick and dexterous movements, not the cultural symbolism described above.
If we do not take into account the author's real intention and turn it into "no less than a timid rabbit", we are not being faithful to the original text, but rather making a faux pas. Therefore, this sentence
should be translated as "I have reached the middle of the field, and I am not less dexterous than a rabbit in going around in the middle of the crater."

On the other hand, it is important to translate the cultural meaning of the culturally loaded words that are crucial or important to the understanding of the text, as it is easy to misunderstand if only the surface meaning is translated. For example, “сушить сухарь” literally means toast a thousand, but in fact it means to prepare dry food for exile on the road, and now it often refers to eating lawsuits. If there is a scene in Chinese literature where the crane is used to celebrate a long life, it must be translated into Russian with the meaning of longevity in Chinese culture, otherwise the Russians will find it inexplicable.

===== Contextual Principal =====

The meaning of words is often multi-layered and multi-faceted, and translators should judge the meaning of specific words according to the context. Therefore, context is the key to determining the true meaning of a word in a specific context and to help the translator correctly translate the original text.

The following are three situations to determine the specific meaning: (1) Words that often have cultural meaning and represent cultural images may not have culturally loaded meaning in a certain context. (2) The same culturally loaded word may have a different cultural meaning in a specific context. For example, the Russian word “ медведь” sometimes means "powerful" and sometimes means "heavy". Sometimes it refers to the strength of the bear, sometimes it refers to the stupidity of the bear, and sometimes it also refers to the maidenhead. Therefore, it is more important to determine the exact meaning according to the context when translating. (3) Common words may become cultural-loaded in specific contexts. (3) Common words may become cultural-loaded words in specific contexts.

===== Principle of Appropriateness of Explicit and Implicit =====

The cultural-loaded word serves the text with its cultural meaning, so the translation should be either explicit or implicit according to the needs of the text, to keep the text simple and fluent. For example, due to the limitation of space or style
For example, in Russian,“кричать во всю Ивановскую” literally means "shouting at Ivan Square" because in the Tsarist era, decrees and orders were issued on Ivan Square, and people often had to shout to hear them. Therefore, it is not necessary to turn out the meaning of the cultural load when translating into foreign languages, and it can be directly translated as shouting. However, if the translator intends to introduce this historical and cultural phenomenon, it is a different story. In short, the translation of cultural-loaded words should serve the whole text, and be consistent with the context and the author's style, and the translator's purpose.

==== Translation Strategies of Russian Culture-loaded Words ====

Translation principles are macro requirements for the translation process, while in the actual translation process, in order to achieve good translation, in addition to following these principles, we must also adopt necessary translation strategies according to the specific characteristics of the vocabulary. The complexity and specificity of cultural factors determine the variability of the meaning and form of culturally loaded terms, as well as the flexibility and adaptability of their translation means. Generally speaking, in order to achieve good translation effect, translators often use such translation strategies as "direct translation (phonetic translation) plus annotation", "direct translation with free translation" and "free translation" for cultural-loaded words and so on.

====== Direct Translation (Phonetic Translation) plus Annotation ======

The direct translation mainly refers to the translation that retains the original language form completely, so that it is similar to the original text. The method of translation is similar to the original text and has the same structure. Since this method mainly focuses on the linguistic form of the original text, sometimes the translation cannot fully and accurately express the original text.Sometimes the translation cannot fully express the original language accurately, then the translator can adopt the method of adding. In this case, the translator can adopt the method of adding notes to offset the loss of meaning brought by this translation strategy. Cultural-loaded words contain a large number of national-specific words, such as various proper nouns, historical allusions and these words have no direct counterparts in the translated language. Therefore, it is often necessary to translate them by the strategy of phonetic translation with annotation. For example, many literary works use phonetic translation of the Russian national costume “сарафан”, which is translated as "Sarah
A" with a note stating that the sarafan is a traditional Russian folk dress without sleeves.

====== Direct Translation with Free Translation ======

Direct translation with paraphrase is a translation method that combines direct translation and translation with meaning, which not only translates the surface meaning of the original text word by word, but also translates the potential meaning beyond the surface meaning of the original text. The direct translation is a method of translating not only the surface meaning of the original text word by word, but also the potential meaning beyond the surface meaning. For the translation of cultural-loaded words, the combination of direct translation and literal translation can better reveal their true meanings in terms of both form and content. The Russian word "колосс на глиняных ногах" from the «Old Testament»It is about the dream of Nebuchadnezzar, the king of Babylon, who saw a giant statue of a terrible shape, whose feet were half clay and half iron, and the whole statue collapsed due to a stone that happened to hit his feet from the mountain. This dream symbolized the doomed kingdom of Nebuchadnezzar. Thus, the cultural meaning of "giant with feet of clay" refers to a country that is outwardly strong but actually weak and destined to perish. Thus, Lenin said in his speech on November 7, 1919, at the conference commemorating the second anniversary of the October Revolution: "Мы видим, что империализм, который казался таким непреодолимым колосом, казался на глазах у всех колоссом на глиняных ногах." (刘永红：2002) The whole sentence should be translated as "We see that imperialism, which looks like a giant that cannot be served, is actually a giant in the mud with a strong exterior in the eyes of everyone.

===== Free Translation =====

The free translation strategy emphasizes the meaning conveyed to the original language words in specific contexts. The first thing is to translate the meaning of the original, not necessarily to preserve the original form, not to achieve the same literal and structural translation as the original. The translation is suitable for the translation of the cultural load words whose cultural meaning does not play a major role in the original text, or the cultural load words whose cultural image is too remote, sometimes also subject to the limitations of the manuscript and style and use this method, a cultural load words, such as culturally significant sayings, proverbs, because for a long time Ba Jing has a conventional translation of foreign, so in the translation can also be used when the original translation method. For example, "китайская грамота" literally means "Chinese word", "Chinese character", but because of the big difference between Russian and Chinese, it is very difficult for Russians to understand Chinese characters, so here it is translated as "heavenly book, incomprehensible, inexplicable thing". “Для него это китайская грамота” translates as "He doesn't know anything about it".

=== The Translation Difficulties of Russian Culture-loaded Words ===

==== Translatability of Culture-loaded Words in Russian ====

Language is the most important tool for human communication and one of the important carriers of information. The cultural characteristics of a nation's way of thinking, concepts, and systems are bound to leave their mark on language. Vocabulary is one of the most active dimensions of language. Changes in social life, the development of national culture and other changes can be recorded through vocabulary. Culture-loaded words are those words, phrases and idioms that mark things specific to a certain culture, and these words reflect the unique way of activity of a particular people that has gradually accumulated over a long historical process and is distinct from other peoples. Although translation is a transformation of symbols in its manifestation, in its essence it is a cultural exchange activity. The difficulty of translation is not the language itself, but how to convey the cultural content of the original language. The Russian cultural load is an important external expression of Russian culture, which is difficult to find in other national languages, but this does not mean that the cultural load is untranslatable. Firstly, although the differences between languages of different nationalities are determined by their respective nationalities, the similarity of human living conditions and physiological structure determines the similarity of human thinking patterns, therefore, different nationalities have similarities in understanding and understanding things; secondly, translation activities have a long history, and there are numerous cases of translators overcoming cultural gaps and achieving successful translations in the rich translation practice, therefore, the translatability of culture- loaded words is proven by a large number of translation practices. Thus, translators can still use their dynamism in a limited space to preserve and convey the cultural elements contained in the culture-loaded words in Russian.

==== Factors Affecting the Translation of Culture-loaded Words in Russian ====

The first is the internal factor, i.e., the internal factor of language. In his book «Language and Translation», Balhudarov divides the translation unit into six levels: phonemic level, grapheme level, word level, phrase level, sentence level, and discourse level, in an effort to make the original text and the translated text equivalent. After the 1980s, translation research has taken a new direction - the cultural theory of translation, and Susan Basnett, as one of the representatives of this school, believes that translation should take culture as the basic unit of translation, instead of resting on the previous parts of speech. The original text is the most real and objective existence in translation, and the characteristics of the translation object itself will also affect the translation, and the culture-loaded words have the characteristics of ethnicity, implication and unaccustomedness. When translating culture-loaded words, translators often encounter two bottlenecks: first, the lack of corresponding vocabulary; second, the lack of equivalent cultural meaning, that is, the same word in different cultural contexts expresses different connotations. In ancient Chinese philosophy, it is important to "look at things and take images", and under the influence of traditional Chinese thinking, Chinese tends to use concrete words to express imaginary concepts. The abstract content is expressed by the concrete image. Take the word "jianghu" as an example. "Jianghu" is another new word with changed connotation and extension, which is composed of the concepts of "river" and "lake". The word "jianghu" lacks its semantic and formal equivalents in Russian, so translators need to adopt a flexible translation approach to interpret the semantic and cultural connotations of the word "jianghu".

Second, external factors, including the translator's own body and the purpose of translation, etc. The translator is the most active factor in the translation activity, and is the doer of the whole translation activity, which must be completed by the translator. There is no shortage of excellent translators in China, most of them are concentrated in the field of English studies. Unlike the English translations of Chinese literary and artistic works, the translators of both film and television dramas and Chinese literary and theoretical works are mostly Russians. Unlike the Chinese translators' approach to Chinese culture, foreign translators, when translating, unlike the Chinese translators' approach to Chinese culture, foreign translators may have less sense of mission and enthusiasm for spreading Chinese culture when they translate from Chinese to foreign languages, and they pay more attention to the reading norms and market acceptance of contemporary readers, so they tend to adopt translation strategies such as paraphrasing and naturalizing to facilitate the understanding of readers of the translated language.

=== Conclusion ===

There is a growing awareness that language is just an international communication tool
and is not restricted to a particular country or nation but as a neutral information medium. This paper analyzed the definition and claasification of culture-loaded words. Then we disscussed the translation principles and strategies of Russian culture-loaded words. Last it discussed the difficulties in the translation of these words, and makes a conclusion that we should use the combination of literal translation and free translation in the translation according to different circumstances.

Translation is a language communicative activity; there are a lot of words with Russian cultural features, so we cannot find the equivalent words to express the same cultural information in the target language. When translating these cultural-loaded words, it needs the help of alienation principles, achieving the conversion between language and cultural information. However, after all, the reader's understanding of Russian culture is limited, so the translator must follow the rules of Russian language and expression, taking the text type, translation factors such as purpose and audience into consideration to acquire the best translation.

To sum up, language, culture and translation are inseparable. Language is also a cultural phenomenon, while culture shapes language. Translation is a tool for exchanging different cultures and human civilizations, and therefore they are closely related. In the process of intercultural communication and translation, culturally loaded words are the main obstacle, but they reveal the cultural characteristics and social customs of a people. Accurate and faithful translation of culture-loaded words plays a crucial role in facilitating cultural exchange. Direct translation and paraphrasing are effective translation strategies to solve the problem of culture-loaded words. Direct translation can help the target language readers understand the translation more easily. It aims to make the target language readers and the source language readers empathize. However, free translation is intended to preserve the cultural style of the source language for the readers. These two approaches may seem to be opposing, but they actually complement each other. It is impossible for a translator to use one translation strategy to complete the translation task, so in translation practice as a translator, he or she should try to make a comprehensive use of the two translation methods to make the translation more relevant and evocative.

=== References ===

Barkhudarov L. S. Language and translation. (1975) Questions of the general and private theory of translation[M]. Moscow: International relations.

Kozhin A. N. (1982) Functional types of Russian speech. [M]. Moscow: Vysshaya shkola.

Rosenthal D.E. (1987) Practical stylistics of Russian language. [M]. Moscow: Vyssnaya shkola.

Fedorov A. V. (2002) Fundamentals of the general theory of translation. [M]. Moscow: High School.

Yuriev A. N. (2005) Types and styles of speech. [M]. Moscow: Almaty.

Chen Guoting 陈国亭 (2012). 俄汉语通用最简翻译指南 [M]. A general minimalist translation guide for Russian and Chinese. 哈尔滨：哈尔滨工业大学出版社 Harbin: Harbin Institute of Technology Press.

Cai Yi et al 蔡毅等 (2006). 俄译汉教程增修本[M]. Russian to Chinese Translation Course Supplement. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.

Huang Ying 黄颖 (2008). 新编俄语语法 [M]. New Russian Grammar. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Publishing House.

=3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =

功能主义目的论视角下加里斯奈德对寒山诗的英译研究

罗曦 Luo Xi, Hunan Normal University, China

[[Cult_Load_Words_EN_3]]

=4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong 《九章》许渊冲译本文化负载词的翻译=
[[Cult_Load_Words_EN_4]]

=5 孙雅诗 Study on the translation of culture loaded words under the ecological translation theory——Take the English translation of Dou E Yuan as an example 生态翻译学视域下文化负载词翻译研究——以《窦娥冤》英译本为例 =
[[Cult_Load_Words_EN_5]]

=6 杜莉娜 On the English Translation of Culture-loaded Words in Chinese Tourism Texts from the Perspective of Intercultural Communication—Exemplified by Zhangjiajie=

'''跨文化交际视角下旅游文本中文化负载词的英译研究--以张家界为例'''

杜莉娜 Du Lina, Hunan Normal University, China

[[Cult_Load_Words_EN_6]]

=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =
俄语成语中文化负载词的中文翻译分析

宫博雅 Gong Boya, Hunan Normal University, China

[[Cult_Load_Words_EN_7]]

=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =
[[Cult_Load_Words_EN_8]]

=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =
[[Cult_Load_Words_EN_9]]

=10 丁旋 Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =

[[Cult_Load_Words_EN_10]]

=11 高蜜On the Translation of Culture-loaded Words in ''Lao Can You Ji'' from the Perspective of Cultural Schema Theory 从文化图式理论看《老残游记》中文化负载词的英译=
[[Cult_Load_Words_EN_11]]

=12 殷慧珍 A study on the English Translation of Culture-loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies =

殷慧珍 Yin Huizhen, Hunan Normal University, China

[[Cult_Load_Words_EN_12]]

===Abstract===
Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay classifies culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay analyzes the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and summarizes the translation of culture-loaded words based on domestication and foreignization strategies.

===Key Words===
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen

===题目===
归化异化策略下方华文《春节》中文化负载词的英译研究

===摘要===
文化负载词是指具有独特文化内涵的词语，是促进文化交流的强有力工具。由于东西方文化背景的巨大差异，文化负载词的翻译是一项艰巨的任务。因此，本文以方华文散文《春节》中的中国文化负载词的英译为研究对象，介绍了许多词汇关于中国习俗活动里蕴含的中国文化负载词。根据奈达的文化分类，本文将文化负载词分为生态文化负载词、物质文化负载词、社会文化负载词、宗教文化负载词和语言文化负载词。本文以韦努蒂提出的归化和异化翻译策略为基础，分析方华文的散文《春节》中文化负载词的翻译策略，总结出基于归化和异化策略的文化负载词翻译方法。

===关键词===
文化负载词《春节》归化与异化翻译策略方华文

===Introduction===
Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures and the main task of translation is to translate the content of the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of the Chinese nation, such as some idioms, sayings and idiomatic expressions, are difficult to translate. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing research. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of the activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand the profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.

===Fang Huawen and ''The Spring Festival''===
Fang Huawen was born in 1955, who is a famous Chinese literary translator and translation theorist. He plays an important role in literary translation in China and he was elected as a representative in the field of literary translation in China. He has translated many literary works such as ''Oliver Twist'' and ''David Copperfield'' written by Charles Dickens, ''Tess of the d'Urbervilles'' and ''Jude the Obscure'' written by Thomas Hardy, ''Jane Eyre'' and ''Pride and Prejudice'' written by Jane Austen and so on. Also, he wrote books of Chinese Culture of Editions Series such as ''Chinese Garden'', ''Chinese Folk Customs'', ''Famous Historical Cities in China'' and so on, which introduce Chinese culture in all areas. His representative translated work is ''History of Chinese Translation in the 20th Century'', which elaborately introduces the Chinsese Translation theories and translators, covering more than ten million words. His translated works have made great contributions to the spread of Chinese culture, and his translation views are well known both at home and abroad. He was named "the most productive literary translator in contemporary China” by the UNESCO International Federation of Translators and his translation theories were publish in ''Babel'', the academic journal of the International Federation of Translators, which enabled the world to know the general situation of Translation in China and the characteristics of translation.

In this essay, ''The Spring Festival'' is selected as the text of analysis, which is one of the prose collected in the book ''Translation and Appreciation of Chinese and Foreign Selected Famous Proses and Poems'', whose author is also Fang Huawen, selecting and translating famous Chinese and foreign proses and poetry. ''The Spring Festival'' is written by Fang Huawen and he selcets his own translation version in the book. The prose introduces the Spring Festival, the most important traditional festival of the China. The prose introduces the customs and activities of the Spring Festival in detail, which have been passed down from the ancient time. With the changes of the time, the words and customs have their own distinctiveness. Taking the traditional activity “post picture” as an example in the essay, Chinese people posted pictures of Shen Shu and Yu Lu with the wish of getting good luck and happiness in Nan Dynasty. While in Tang Dynasty, they posted the photos of Qin Shubao and Yuchi Jingde. If you don't know the cultural background of Chinese culture, you can hardly know the connotaion of the words. For example, the names of firecrackers are of various kinds, like "Rockets", "Rolling Mines", "Fairy Scattering Flowers", "Knights in Red" and so on. The author elaborately introduces all kinds of customs and activities from the first day of the first lunar month to the 15th day of the first lunar month, among which culture-loaded words are unique to Chinese culture, and the translation of these culture-loaded words will greatly promote the spread of Chinese culture.

===Culture and Culture-loaded Words===

====The Brief Introduction of Culture====
Compared with the economic and political field, culture refers to the spiritual activities of human beings and the products they produce. Culture is a set of customs, traditions and values formed by people living in a specific community over a long period of time, such as the culture of a nation or country. There are various cultures in the world, and each culture has its own characteristics, including its own ethnic values, such as religious belief, world outlook, etc. It also includes spiritual products produced by specific ethnic groups, such as some artistic and scientific spiritual products. Besides, the manners and behaviors of a nation such as folk customs, spirits and so on.

Chinese contemporary writer and scholar Yu Qiuyu gave a detailed interpretation of culture. He gave a definition of culture with a concise and simple sentence in ''What is Culture'', that is, culture is a kind of spiritual value and life style called habit, and its final result is collective personality. (Yu qiuyu 2012:3) The first key word is spiritual value, which means that culture is not only a cultural phenomenon, but also has cultural value. Therefore, it can be explained that culture is a spiritual symbol of human beings compared with the primitive state. The second key word is lifestyle. This is the concrete realization of spiritual value. In most cases, culture, it should be concrete and acessible. The third key word is collective personality. This shows that culture not only affects people, but also concentrates on personality precipitation to maintain some stability.
That is to say, the unique spiritual value and way of life developed by a particular nation is the culture of this nation, such as Confucianism, ancestral hall culture in Chinese culture and so on.

Specifically, Culture covers nearly all kinds of fields in social life. There are many classifications of culture from different perspectives. For example, from the geographical aspect, there are local culture and foreign culture, urban culture and rural culture, Eastern culture and Western culture and so on. Also, from the perspective of time, there are primitive culture, slavery culture, feudal culture, capitalist culture, socialist culture and so on. According to Nida, he divided culture into five categories in his book Language, Cultural and Translation:(1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) language culture. (Nida 1993: 91)

====The Brief Introduction of Culture-loaded Words====
Culture-loaded words refer to the words or phrases carrying the unique cultural connotations of a certain nation, which are different from other nations. Chinese scholar Hu Wenzhong defined culture-loaded words as follows: "Culture-loaded words are words within the scope of a specific culture, and are the direct and indirect reflection of national culture in the language vocabulary" (Hu Wenzhong 1999:64). When these culture-loaded words are translated into the target language, it is not easy to find corresponding words in the target language. Therefore, the wide use of culture-loaded words can transmit national cultural values and promote national communication.

Based on the classification of culture of Nida, culture-loaded words also can be divided into five catergories accordingly. The first is ecological culture-loaded words, which refer to the words that reflect the unique local ecology, such as climate, lgeomorphology, natural environment, mountains, rivers, vegetation and so on. Different geographical environments breed different cultures, such as the Chinese idiom “稳如泰山”, which translates into English as stable as Mount Tai, meaning as firm as a rock, "Mount Tai" is a unique ecological environment in China. Mount Tai is very majestic in the hearts of the Chinese people, and it is worshipped by the people and enjoys a high status. Therefore, people use this idiom to praise people as stable and unshakable as Mount Tai. For English phrase, "a big fish" is literally translated into Chinese “一条大鱼”, but in English culture, it means "Great man", because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.

The second is material culture-loaded words, which refer to words produced in daily life to meet the development of people's material life, that is, words with cultural connotations such as clothing, food and household goods that people need in daily life. In different cultures, people have different associations with different objects. For example, in Chinese culture, since the ancient time, people have divided the universe into five kinds of things, namely are Wood (木), Fire (火), Earth (土), Metal (金), and Water (水), and called them "Wu Xing(五行)"also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena.

The third social culture-loaded words refer to words that reflect various aspects of the society according to different social backgrounds, such as unique festivals, customs, local conditions and practices, as well as the way of address and greeting. For example, "aunt" in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.

The fourth religious culture-loaded words refer to some words related to religious beliefs and concepts, reflecting the influence of religion o.n people's lives. For example, Chinese culture is deeply influenced by Buddhism. Some common sayings contain the influence of Buddhism on people's life, such as the Chinese proverb "菩萨心肠"，which refers to the people with a great kind heart. Cram at the eleventh hour. "菩萨"is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.

The last one language culture-loaded words are the reflection of different languages characteristics in speech, lexical, syntax and other linguistic aspects, usually found in dialogue, ancient poetry and colloquialisms, idioms, and so on. Chinese sentences attach importance to the connection of meaning, and clauses are often connected by meaning, while English sentences are connected by connectives. For example, the famous Chinese proverb,"经得广，知得多"，the whole sentence is very concise, only with six words, and there is no conjunction to connect the sentence. However, the English translation cannot completely translate the format, but need to use a conjunction to connect the sentences in English grammar, that is if you experience more, you can know more things.

===Domestication and Foreignization Strategies===
Domestication and foreignization are two different translation strategies proposed by Venuti in ''The Translator's Invisibility A History of Translation'' from the perspective of culture in 1995. According to Venuti, Domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers.(Shulttleworth , Cowie 1997 : 43~ 44) This was based on the Germanphilosopher Schleiermacher's famous notion of the translation that don’t disturb the reader, as much as possible, and then lead the author towards the meaning that author want to convey. That is to say, using the tanslation strategie of domestication is to localize the translated text. And translator should first consider the target language readers but not the loyalty to the author. Therefore, when translating, the translator should choose the plain and familiar words and expressions in the target language that would not be a barrier to reading for readers, so that the translation can be read nativly and vividly but do not make the readers feel stiff or unfamiliar, and it would not be like a text has been translated but an original book. When translating, he also created many plots that cater to the public’s preferences, making the novel interesting and easy to understand. Because of the cultural differences between the East and the west, some specific words in the source language have no corresponding meanings in the target language. Therefore, especially when translating idioms and allusions, domestication is often used in order to maintain their unique simplicity and expressiveness. For example, cry up wine and sell vinegar(挂羊头卖狗肉)/ live a dog's life(过牛马一样的生活)/seek a hare in hen's nest（缘木求鱼）（Fang Mengzhi 2004: 3）

Foreignization refers to the translation strategy that a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Shulttleworth , Cowie 1997 : 58~ 59) Foreignization refers to the translation strategy that the translator first considers his loyalty to the author and the original text, so the translation will preserve the language characteristics and cultural customs of the original text. The use of foreignization translation strategy will not only make readers have "exotic" reading experience so as to help them better understand cultural differences，at the same time，it also enrich the target language. Many foreign words and expressions have been well integrated into the target language and used in people's daily life. The example of foreignization in Fang Mengzhi's a dictionary of translation studies, such as "time is money", comes from the foreignization of "time is money" in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）

Domestication and foreignization are indispensable translation methods in cross-cultural translation. Domestication can invisibly introduce foreign cultural ideas into the country without causing exotic reading experience or bringing reading barriers to target language readers, thus increasing the readability of the text. However, with the advent of globalization, blindly domesticating other languages is a way of showing ethnocentrism, which is actually a kind of cultural aggression of other country. Venuti believes that the domestication is to use smooth translation strategy to hide the domestication in the transparency of the translation. This is not a cultural exchange but an act of culuture violence under the cover of domestication strategy with ethnocentric ideas, that is, tampering and cultural appropriation. (Fang Mengzhi 2004: 96）Therefore, foreignization has become an increasingly important translation strategy in the process of translation. For culture-loaded words, adopting foreignization translation strategy can not only accurately express the meaning of the sentence, but also promote the spread of Chinese culture, so as to promote the mutual understanding and communication between the East and the West. Therefore, foreignization is gradually accepted by people and more widely used in the world.

===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===
The prose ''The Spring Festival'' contains many traditional Chinese festival culture-loaded words such as poems, idioms, proverb and so on, so in the process of translation, appropriate methods and strategies should be selected. For these Chinese culture-loaded words, the English translation is not completely corresponding to the original text. For example, some Chinese culture-loaded words have Chinese cultural connotations but are not reflected in the translation, and the sentence format in the original text is not completely corresponding in the translation. Based on the classification of culture-loaded words mentioned above, this essay analyzes the ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words in Fang Huawen's ''The Spring Festival'' on the theoretical basis of domestication and foreignization translation strategies.

====Ecological Culture-loaded Words====
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words "火树银花" to describe the scene of the Lantern Festival with bright lights. Literally, "火树" means the fire trees, "银花" means the silver flowers. If the translator uses the foreignization translation strategy to transliterate the sentence, the foreign readers who don't know the Chinese culture may not understand the meaning of the sentence, and will be confused. This is not a tree or flower, but a scene of bright lights. Therefore, the translator adopts the domestication translation strategy and translates it into "fireworks and laterns were everywhere to be seen", "火树" refer to the trees are covered with colorful lights, and "银花" refer to brightly lit scene.

====Material Culture-loaded Words====
Material culture-loaded words refer to some words used for material production, such as medicinal wine, units of weights and measures mentioned in the prose.

Example 1: "爆竹声中一岁除，春风送暖入屠苏。"

Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.

The sentence quoted the famous poem New Year's Day by Song Dynasty poet Wang Anshi, which depicted a lively scene during the Spring Festival. The word "Tusu"(屠苏) has great cultural connotation. "Tusu" is a kind of medicinal wine, called Tusu wine. According to Chinese legend, Tusu wine was first invented by hua Tuo, a famous doctor in the Eastern Han Dynasty. It is generally drunk on the first day of the first month, which plays a role in strengthening the body and defeating diseases. Therefore, drinking it on the first day of the New Year also conveys people's best wishes for the New Year that everyone can stay away from diseases and be healthy. It implied a wish, just as people in the western culture also toast on festivals, so the translator replaced the literal translation of Tusu with the familiar word toasting.

Example 2: 曾架起一座二十丈的灯山。

Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.

In the sentence, "二十丈", that is twenty Zhang. Zhang is a unit of length used in ancient China. The use of Chinese length units has evolved with the changes of history. The units of measurement are closely related to life, they have appeared since the beginning of human beings. The primitive people used fingers as inches, palms as feet, and stretching elbows as feet. Then Qin Shihuang unified the measurement and till now the appearance of modern measurement technology today, the evolution of ancient measurement system reflects the changes of history. In English, there is no length unit of Zhang. Therefore the translator used the domestication translation strategy that converted 20 Zhang into 70 meters.

====Social Culture-loaded Words====
The use of social culture-loaded words reflects the specific social background of the certain period. For example, the appellation or title of people is a significant part of social culture-loaded words. In this prose, the titles of the two ancient emperors "汉武帝" and "唐睿宗" are mentioned. The translator's translation of the ruler is as follows:

Example 1：自从汉武帝以来...。

Ever since the Emperor Wu's Reign of Han Dynasty.

Example 2：唐睿宗时，长安的皇宫外庆贺元宵节

During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.

In Chinese history, from the Han Dynasty to the Sui Dynasty, the posthumous title of the emperor is generally used, which summarized the deeds and morality of the deceased. For example, Emperor Wu of the Han Dynasty, whose posthumous title is "Wu", praised the moral character of Emperor Wu of the Han Dynasty. From the Tang and Song Dynasties to the Yuan Dynasty, the temple name of the emperor was used as the appellation. Temple name is the name given by later generations when they worship in the temple after the death of the ancient emperor. For example, the temple name of the founding emperor is Gaozu or Taizu, such as song Taizu. For the successor, the last word is always Zong, which means to maintain the achievements of the predecessors. For example, Tang Ruizong's temple name is "Rui", which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title "Wu" of Emperor Wu of the Han Dynasty and the temple name "Rui" of Ruizong of the Tang Dynasty. Although the title of emperor is different from that of Di and Zong in Chinese, translator all uses the word emperor.

Example 3: 其外形有"哪吒闹海""孙悟空""猪八戒"和"沙僧"。

Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing.

The words in historical allusions and legends have great social and cultural connotation. "哪吒闹海"is an ancient Chinese legend."孙悟空", "猪八戒" and "沙僧" are main characters in Journey to the West, one of China's four greatest master pieces. Chinese people have watched TV dramas or books about these characters since childhood, so they are familiar with them. However, for foreign readers, they are not familiar with these characters or plots, so it may perplex them if you don't explain the culture background here. The translator adopted the foreignization translation strategy to directly translate "孙悟空" into "Na Zha's adventure in the East Sea", "孙悟空"into the well-known Monkey King, "猪八戒" into Pigsy, and "沙僧" into his name Sha Wujing. Literal translation may confuse readers who do not understand these legends and stories, so notes can be added, that is, Nazha (a divine warrior in Chinese mythology). And Monkey King, Pigsy, Sha Wujing (main characters in Chinese classics pilgrimage to the West).

====Regilious Culture-loaded Words====
Example 1：死后玉皇大帝封他为"斩祟将军"

And was appointed "ghost-killler general" by God of all gods after his death.

In the translation, the translator uses domestication translation theory to translate "玉皇大帝" into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and "玉皇大帝" is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, "玉皇大帝" also governs the affairs of the universe. People regard "玉皇大帝" as the "emperor" in heaven, the supreme ruler of the world of all gods.
In western culture, religions are numerous and varied. Ancient Greece is the land of pantheism, the ancient Greeks advocated many gods. Zeus is regarded as God of all gods and the supreme ruler of the gods in the Greek mythology. Several popular Western religions, such as Christianity, Judaism and Islam are monotheism, holding the belief that God is the only creator of the world. God is conceived of as the Supreme Being and principal object of faith. So the use of domestication can not only express the same meaning of the sentence, but also adapt to the religious culture in the west.

Example 2: 旧岁的最后一天叫"大年三十”，因"除旧岁”而得名除夕。

Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.

The phrase "旧岁”, "岁”is not only refers to the age, but also means year. "旧岁" refers to the past year. The last day of the year, called "岁除", and the night of the day is called "除夕". 除夕, the original meaning of "New Year's Eve", refers to the end of the year to usher in the new. New Year's Eve is a time for family reunion. Like Tomb-sweeping Day, Ghost Festival and the Double Ninth Festival, New Year’s Eve is a traditional Chinese festival for ancestor worship. This sentence uses the combination of domestication and foreignization. The use of foreignization preserves the cultural image and promotes the culture exchange.

====Language Culture-loaded Words====
Chinese idioms usually contain the essence of language and have Chinese characteristics. Many of them use figures of speech such as metaphor. A metaphor is a comparison of something you want to say with something that has similar characteristics. In idioms, metaphors are used to describe the characteristics of something to make it vivid, so as to trigger the association of readers. The idiom in the prose like "像箭一般冲出去了", means that the children rush out quickly, but also shows that the children eager to go outside. In Chinese culture, the arrow(箭) is often used to describe high speed. For example, the idiom "离弦之箭" is used to describe high speed. "离弦之箭" refers to Time flies quikly. But there is no equivalent like arrow in English. In English, words like "bullet" or "cheetah" or "rocket ship" are used for things that are fast. Therefore, in order for readers to better understand the meaning of the sentence, the translator uses the domestication method to paraphrase as "dash out", "dash" is an act of running or moving very quickly or hastily, Although the cultural connotation of the source language is sacrificed in this way, the translator faithfully expresses the meaning of the source language.

===Conclusion===
This essay finds that the prose includes plenty of culture-loaded words, which contains extensive and profound meaning about traditional Chinese culture and customs. This essay introduces the Spring Festival, the most important traditional festival in China, as well as various activities prepared by Chinese people for the Festival and customs they adhere to, which largely spread Chinese culture, promote cultural exchanges in the world, and greatly enhancing the strength of Chinese culture. For this essay, using Fang Huawen's translation text as the analysis object, analyze the translation strategies of translator used about different kinds of culture-loaded words, that is, ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. According to Venuti's translation theory, he advocates that translators should more use foreignization to preserve the cultural connotation of the source language. However, the translator Fang Huawen adopts the domestication translation strategy more frequently, choosing the cultural images familiar to the target language readers in order to resonate with the target language readers and make the target language readers get roughly the same reading effect like the source language readers. At the smae time, culture-loaded words have complex cultural images, if the target language readers do not understand the cultural connotation behind the words, they will not be able to get the real meaning of the text, and may even misunderstand the text mistakenly. When using domestication strategies, translators most commonly use free translation, in which they replace culture-loaded words in the original text with words and expressions more familiar to the target language readers, so as to improve the readability of the translated text and reduce readers' reading barriers. For example he translates the character of Chinese legend "玉皇大帝”into"God of the gods”that are more familiar to the target language readers. However, with the development of globalization, foreignization is increasingly used in translation. When the translator encountered some characteristic culture-loaded words, he chose literal translation, such as "Danianshanshi". Although the translator uses foreignization translation strategy to bring strangeness to the target language readers, it not only retains the traditional image of Chinese culture, but also meets the needs of cultural communication in the world. Foreignization can not only express the meaning of the source language, but also retain the characteristics of the national language. Domestication and foreignization are interactive and not completely opposite. Translators can combine foreignization and domestication in translating culture-loaded words. When translating culture-loaded words, the translator can not only use foreignization translation strategy to retain the cultural image and language connotation of the original text, but also use domestication translation strategy to make the translated text easy to understand and readable.

===References===

Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.

Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.

Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&Newyork:Routledge.

Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese& Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science & Technology Press.

Fang Mengzhi 方梦之(2011). 中国译学大辞典''The Dictionary of Translation Studies in China'' [M]. 上海：上海外语教育出版社 Shanghai: Shanghai Foreign Language Education Press.

Yu Qiuyu 余秋雨(2012). 何谓文化''What is Culture'' [M]. 武汉：长江文艺出版社 Wuhan: Changjiang Literature and Art Press.

Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)

=13 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]

《边城》中文化负载词的翻译—以戴乃迭英译本为例

程杨 Cheng Yang, Hunan Normal University, China

=14 胡舒情浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》为例On Translation Strategies of Culture-loaded Words in Traditional Chinese Medical Classics: A Case Study of ''Treatise on Febrile Caused by Cold''=

胡舒情 Hu Shuqing, Hunan Normal University, China

[[Cult_Load_Words_EN_ 14]]

=== Abstract ===
''Treatise on Febrile Caused by Cold'', written by Zhang Zhongjing in the late Eastern Han Dynasty, is one of the "Four Classics" of Traditional Chinese medicine which uses six channels as guiding principles of syndromes differentiation and treatment. The book concentrates the traditional Chinese medical wisdom, which is both scientific and literary. The writing is smooth and simple, and the language is straightforward and vivid. A large number of rhetorical devices such as reduplication of words are used to reflect the beauty of Classical Chinese. Its multiple values have led more and more scholars to devote themselves to research, study and even translation and promotion, and a number of outstanding scholars have emerged at home and abroad to devote themselves to the translation work of this book. However, it is not easy to translate this book. China has an long history and profound culture, and the book contains many culture-loaded words. The translation quality of such words directly affects the translation quality, so it is necessary to adopt appropriate translation strategies. Therefore, the author chooses the version translated by Professor Luo Xiwen as the research blueprint to study the translation strategies of culture-loaded words in traditional Chinese medicine classics, in order to promote the translation of this book to a higher level.

=== Key Words ===
cultrue-loaded words; Treatise on Febrile Caused by Cold; Tranditional Chinese medicine classics; translation strategies

=== 题目浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》 ===

=== 摘要 ===
《伤寒论》为东汉末年的张仲景所著，是以六经作为辩证论治的纲领，荣列为中医“四大经典”之一。该书浓缩了中国传统医学智慧，兼具科学性与文学性，行文流畅朴素，语言直白形象，其中大量运用叠词等修辞手法，体现了中国文言文之美。其多重价值致使越来越多的学者致力于研究、学习、甚至是翻译推广，国内外皆涌现出一批优秀学者投身该书的翻译工作中。但翻译此书并非易事，中国历史优秀、文化精深，书中包含众多文化负载词，这类词的翻译质量直接影响译文质量，采取合适的翻译策略必不可缺。因此，笔者选择了罗希文教授所翻译的版本，作为中医典籍文化负载词翻译策略的研究蓝本，以期推进该书翻译工作更上一层楼。

=== 关键词 ===
文化负载词，《伤寒论》，中医典籍，翻译策略

===1. Introduction===
In recent years, China's international influence and national soft power have gradually improved, and the country has consciously pushed Chinese culture to all over the world. Traditional Chinese medicine culture, as an indispensable part of the excellent traditional culture of the Chinese nation, has a long history and unique theories and technical methods. Classic materials are rich and humanistic spirit of TCM is amazing, and the external dissemination of traditional Chinese medicine culture is becoming more and more important. Under this background, the translation of traditional Chinese medicine in China has been gradually carried out, and the culture-loaded words in the classics of traditional Chinese medicine are important features that reflect their rich cultural color and humanistic connotation, and the translation of culture-loaded words is the key to the translation of traditional Chinese medicine. Culture-loaded words are parts of the construction of traditional Chinese medicine culture and have basic research value. They cannot be unilaterally regarded as completely untranslatable because of the differences between Chinese and Western cultures. Facing the problems of translation, it is particularly important to put forward feasible translation strategies. A large number of translators of traditional Chinese medicine classics have also emerged in China, facing difficulties and striving to show the world the classics’ cultural accumulation and research results. Among them, the translator Luo Xiwen has translated a series of traditional Chinese medicine classics such as ''Condensed Compendium of Materia Medica'', ''Synopsis of Prescriptions of the Golden Chamber'', ''Huangdi Neijing'', and ''Treatise on Febrile Caused by Cold''. As one of China's historical medical works, ''Treatise on Febrile Caused by Cold'' is a classic work of traditional Chinese medicine written by Zhang Zhongjing in the Eastern Han Dynasty. It plays an important role in the development of medical history in the cultural biography of traditional Chinese medicine. This article will discuss the translation strategies of culture-loaded words in traditional Chinese medicine classics through Luo's translation of Treatise on Febrile Caused by Cold.

===2. TheDefinition and Classification of Culture-loaded Words in Chinese Medical Classics ===
====2.1 The Definition====
Different scholars have different interpretations of culturally loaded words, but a widely accepted definition is that words, phrases and idioms which mark the unique things in a certain culture. These words are deeply imprinted by the region and times of a language society. They only exist in one culture but are blank in another culture.

In recent years, many scholars have begun to pay attention to culture-loaded words in traditional Chinese medicine classics. Some scholars have tried to give a definition of traditional Chinese medicine culture-loaded words, but there is no clear definition yet. However, scholars Zhang Miao and others put forward recognition steps and a selection standard for traditional Chinese medicine culture-loaded words. First of all, read through the text and divide the semantic groups. Secondly, judge whether the semantic group belongs to the shared vocabulary of all human culture, that is, to express one concept of things as a vocabulary in the context of one language and culture, and words that indicate the corresponding concept in another language and culture background. For example, the words "apple", "pear" and "fire" in Chinese express the same concept and corresponding words in English. If it does not belong to part of speech, then determine whether each semantic group belongs to the following three categories. First, the basic terminology of traditional Chinese medicine. Such terms are usually divided into basic theories of traditional Chinese medicine, diagnosis of traditional Chinese medicine, diseases of traditional Chinese medicine, treatment of traditional Chinese medicine, acupuncture and moxibustion, and prescriptions of traditional Chinese medicine. Second, words unique to Chinese material culture, such as unique characters and things. Third, the unique language phenomenon of ancient Chinese. Such as ancient and modern synonymous words, common false words, word polysemy, etc. If it belongs to, and there is no obvious English corresponding word in the above semantic group, it is a culturally loaded word(Zhang Miao, 2020:63-64). According to this method, this paper selects the culture-loaded words in ''Treatise on Febrile Caused by Cold'' in the following article for analysis.

====2.2 The Classification====
After fingding out the culture-loaded words of traditional Chinese medicine, it is often necessary to classify and discuss them. Different scholars have different classification methods. Xu Xueyuan divided the culture-loaded words in ''Huangdi Neijing'' into basic philosophical concepts of traditional Chinese medicine, place names, traditional Chinese medicine terms and organs(Xu Xueyuan, 2018:148-149). Zhang Xuan divided the culture-loaded words in Su Wen into people's names, traditional Chinese medicine terminology, traditional Chinese medicine-related philosophical concepts, and other descriptive cultural load parts of speech(Zhang Xuan, 2009:12-16). Song Conghui and others divided the words of cultural load into: symptoms of traditional Chinese medicine, symptoms of traditional Chinese medicine, etiology and pathogenesis of traditional Chinese medicine, treatment of traditional Chinese medicine, basic philosophy of traditional Chinese medicine, etc(Song Conghui, 2016:121-122). Chen Zinuo and others divide the culture-loaded words of traditional Chinese medicine into five categories: syndrome, symptom, prescription, philosophy and rhetoric(Chen Zinuo, 2021:1698-1700). The latter includes the classification mentioned in the first three, and also opens up a rhetorical class to make the classification more detailed and clear. Therefore, this paper adopts Chen's classification method.

===3. Translation Strategies Used for Culture-loaded Words in ''Treatise on Febrile Caused by Cold''===
====3.1 Translation Strategy of Culture-loaded Words of Syndrome====

The translation of the syndrome affects the readability of the whole translation. ''Treatise on Febrile Caused by Cold'' has been written for a long time, and the simple structure of syndrome name carries a lot of information, so there are few modern terms that can be matched with ancient syndrome names. According to the methods mentioned above, most of the terms of traditional syndrome names belong to culture-loaded words. The author selected the syndrome -type culture-loaded words in Treatise on Febrile Caused by Cold translated by Professor Luo Xiwen to study the translation strategies of these words.

There are several syndromes mentioned in translation of Professor Luo: “太阳病” “阳明病” “少阳病” “太阴病” “少阴病” “厥阴病” “霍乱病” “阴阳易差后劳复病”. Sheng Jie believes that the translation of the syndrome name should be accurate first, then concise, and there is no need to overemphasize formal equivalence(Sheng Jie, 2013:15). When the meaning of the syndrome name has the corresponding words of Western medicine, the literal translation method should be directly used, and when there is no word to use, the method of additional translation can be selected.

Luo mainly adopts transliteration and free translation for syndrome names, first transliteration, followed by free translation, extending the cultural connotation and giving readers a way to deepen understanding. The following analysis can be seen.

“太阳病” appeares in chapter I, and Luo translates it into The Taiyang (Initial Yang) Syndromes. “太阳” does not refer to the celestial body “sun”, but to the Bladder of Foot-Taiyang. The bladder is located in the lower jiao, that is, below the belly button and above the bladder, which contains body fluid, which evaporizes to form "Qi of Taiyang", which is obvious on the body surface. This Qi has the function of protecting the body, also known as "Wei-qi". Because “Wei” meaning defensive, it is also reputed as “defensive Qi”. Because the Qi of Taiyang travels on the surface of human body, when exogenous pathogenic factors invade the human body, Taiyang must bear the brunt, and the syndromes presented as 太阳病. Professor Luo first gives the transliteration form of 太阳病, and then in view of Taiyang syndromes being the first from the law of transmission, Luo also adds “Initial Yang” as an expression of this kind of law of transmission.

“阳明病” appears in Chapter 4, Luo translates it as: The Yangming (Greater Yang) Syndrome. “阳明病” is related to the stomach channel of Foot-Yangming and the Large Intestine Meridian of Hand-Yangming, which means that Yang Qi is so strong that can be observed. Luo uses "Greater" to indicate the prosperity of yang qi to help readers understand the degree of yang.

“少阳病” appears in Chapter 5. Luo translates it as: The Shaoyang (Lesser Yang) Syndrome. Shaoyang is related to Sanjiao Meridian of Shaoyang and Shaoyang Gallbladder Meridian of Foot. It is one of the three Yang, but its ability to stand up to evil is not as good as Tiyang and Yangming, so "Lesser" is used to correspond to "少" in the name.

“太阴病” and “少阴病”, which have similar names with the “太阳病” “少阳病”, just different from Yin and Yang, have similar translations, so there is no need to go into detail. It is worth mentioning that “厥阴病”, Luo translates it as: The Jueyin (Greater Yin) Syndrome. “厥” has the meaning of “extreme”. When the disease or syndrome reaches Jueyin, Yin is extremely cold. Therefore, the degree of Yin embodied with "Greater" is similar to that of Yangming.

“霍乱” appears in Chapter 9, Luo translates it as: Huoluan (Cholera). “霍”, has the meaning of “suddenly” and “haste”, “乱” has the meaning of chaos. “霍乱” is an explosive gastrointestinal disease with vomiting and diarrhea as the main clinical manifestations. Traditional Chinese medicine believes that it is mostly caused by the combination of the six pathogenic factors and unhealthy diets. In Western medicine, Cholera is more likely to be an acute diarrheal infectious disease caused by the intake of food and water which is contaminated by Vibrio cholerae. It is not appropriate to have Cholera's literal translation of “霍乱” in Chinese medicine.

“阴阳易差后劳复病” appears in Chapter 10, Luo translated it as: The Recurrence of Disease and Yin Yang Yi Syndrome. This chapter introduces two parts: one is related to Yin Yang Yi, that is, the differentiation and treatment of Yin Yang Yi syndrome caused by patients with typhoid fever when they are not healed or just recovering, giving way to their carnal desires; the other refers to the differentiation and treatment of recurring diseases resulted from that, at the beginning of recovering from an illness or no recovery, patients start to work. In this chapter, Luo does not add interpretations, but directly arranges the free translation and transliteration in a phrase. The language is concise, easy to be accepted and understood by readers, and achieve the purpose of communication between Chinese and Western medicine. As a matter of fact, observations show that Luo's translation is relatively accurate in grasping the prosperities of syndromes, and tends to use free translation to reflect the characteristics of the progress of syndromes. However, Luo still mainly uses transliteration to convey cultural information about Yin and Yang and other Chinese-specific philosophical characters. This method also has drawbacks, that is, the transmission of cultural connotation depends on the degree of such characters’ propagation and the reader’s cultural level. For some readers who are first exposed to Chinese medicine culture, the transliteration is not friendly, which is not conducive to their reception of Chinese specific cultural information.

====3.2 Translation Strategy of Culture-loaded Words of Symptom====
When describing various syndromes in the book, it also points out the symptoms of the patient who is attacked by those disease. Most of the symptoms are described in detail at the beginning, and Chinese medical books are quite different from Western medical books in terms of the degree of language rigor. About Chinese medicine books, they make good use of rhetoric and pay attention to flowery characters and rhyme beauty, which adds a literary flavor to Chinese medicine, while it also causes the ambiguity and non-standardization of the concept of Chinese medicine, which increases the difficulty of translation as well. Examples are as follows.

Example 1：阳浮者，热自发；阴弱者，汗自出。

Translation：Floating at the surface signifies Heat weak in depth signifies spontaneous perspiration.

This sentence is neatly formed and catchy to read. Luo's translation is roughly the same as the original in form. It is worth noting that Luo translates most of the character "热" which refers to heat symptoms caused by an exopathgen as "Heat" or "pathogenic Heat", and capitalized H to distinguish the "heat" from common heat.

Example 2：鼻鸣干呕

Translation：nauseous and with a tendency to snore

In response to “干呕”, Luo uses the adjective “nauseous” to express "disgusting". In fact, the original text “干呕” is closer to “retching”, which refers to only the sound and action of vomiting, but no food or only salivation. This is not the same as complete nausea. “Nauseous” the word chosen by Luo here does not fit the context of Chinese medicine. “鼻鸣” are sounds made when the breath enters and exits due to suffocation in the nasal passages. It is manifested as thick breathing like a squeak, and snoring is the sound of thick breathing after falling asleep. Luo use the translation of “snore” is rather accurate.

Example 3：不下利，但呕者

Translation：……not cause diarrhea, but rather cause nausea and vomiting

“下利” refers to having the trots in Chinese medicine. The literal translation of "diarrhea" here fits the context. Compared with using the previous term nauseous to indicate “干呕”, Luo treats the character “呕” more carefully, using two words nausea and vomit to expresse together. At the same time, ancient Chinese medical writings in classical style tend to use omissions and emphasize parataxis, while English paying more attention to hypotaxis, Luo uses the word “cause” to make sentences more coherent and clearer.

In summary, it can be seen that the translation of symptoms extremely tests the translator's Chinese and English levels and medical understandings, and a slight difference will lead to deviations in meaning. For such culture loaded words, translators also use more literal translation and omission methods, and less transliteration. But there is also a problem, that is, most of the symptom names in Chinese and Western medicine can not completely point to the same content, and this subtle difference may cause doctors to make mistakes in judgment and cause major accidents. Therefore, the translation of symptoms should be more careful, and comments can be added when necessary to help understand.

====3.3 Translation Strategy of Culture-loaded Words of Prescription====
Treatise on Febrile Caused by Cold is the "ancestor of all prescriptions", which contains many culture loaded words related to prescriptions. Chai Hui has carried out research on the English translation of the prescriptions of Treatise on Febrile Caused by Cold, using the transliteration + literal translation + Latin notation of the "three insurances" translation method for prescription names to ensure that the translation is accurate and comprehensive(Chai Hui, 2010:703-704). Luo's translation mainly uses literal translation for such culturally loaded words. Examples are as follows.

Example 1：芍药

Translation：Radix Paeoniae

The translation of medicinal materials needs to pay attention to the phenomenon of different medicines with the same name. For example, in Zhang Zhongjing's book, there is no distinction between white peony and red peony, but in modern times, white peony and red peony are clearly classified as two kinds of medicinal materials. At present, clinical physicians generally believe that white peony’s function is rather tonic and restorative, while that of red peony refers to ejecting or diarrhea, and two medicinal materials need to be used flexibly according to the condition of the disease. Professor Luo uses Radix Paeoniae to translate it in general, without any distinction or explanation.

Example 2：潦水

Translation：rain water

In Chinese medicine, “潦水” refers to rain water. Luo Zhi literally translated it. “潦水” can be used to decoct herbal medicines whose functions are to nourish spleen and stomach and remove the dampness-heat. In fact, the translator can also explain the reasons for the use of rain water in Chinese medicine after the text, which is more conducive for readers to understand the connotation of Chinese medicine.

Example 3：苦酒汤

Translation：decoction of Bitter Wine (Ku Jiu Tang)

"苦酒汤" in Chinese medicine is actually rice vinegar. Luo translates it as "bitter wine", which means wine with a bitter taste, which is not in line with the original meaning and can be misleading.

Through the above analysis, we can find that the names of the prescriptions and the materials used in the book all have specific cultural connotations of traditional Chinese medicine. There are few corresponding words in Western languages, and even if they do, they are different from the original cultural connotations of the word in the West. We need to adopt appropriate methods in translation, which not only preserves the cultural characteristics of Chinese medicine, but also facilitates the understanding of target readers.

====3.4 Translation Strategy of Culture-loaded Words of Philosophy====
The philosophy of Chinese medicine is the ideological basis and theoretical guidance of Chinese medicine, covering Qi, Yin and Yang, and the Five Elements and so on. Among them, the theory of Yin and Yang is the main line of Treatise on Febrile Caused by Cold, which is expressed as two opposite sides of the same thing or two opposite things in a unified way. Jiang Mingde and others have analyzed the polysemous nature of the term "Yin and Yang" in Treatise on Febrile Caused by Cold, and pointed out that Yin and Yang can represent multiple meanings such as pulse location, pulse condition, disease attributes, pathological characteristics, etc(Jiang Mingde, 1992:7-8). The specific meanings in terms vary according to the environment and the translators different. Some examples are analyzed as follows.

Example 1：阴阳自和

Translation：if yin and yang are still in harmony

"阴阳自和" means that after sweating, vomiting, and using the purgation method, the human body achieves Yin-yang harmony and heals through self-regulation. This is an important content of Chinese philosophy. This tends to be a kind of dynamic balance, while Luo Yi's translation of “in harmony” is more inclined to a kind of static stability, which is somewhat different from the original meaning.

Example 2：脉阴阳俱浮

Translation：floating pulse at Yin and Yang

The translations of “阴阳” here are still transliterated as Yin and Yang. As a matter of fact, the two terms here refer to “Cun” and “Chi” (the transliteration of “寸部” “尺部”) appearing as floating features. Cun pulse pertains to Yang, and Chi pulse is to Yin. Professor Luo only uses transliteration, without supplementing background knowledge and relevant contextual information, so that readers in the target language may not understand what exactly they refer to.

Example 3：伤寒阴阳易之为病

Translation：Febrile disease caused by Cold with Yin Yang Yi syndrome

Luo adopts transliteration and free translation. In regard to Yin Yang Yi, Yin and Yang here refer to sexes of male and female, among which Yin Yi is the disease transmitted from female to male; Yang Yi is the diseases transmitted from male to female. After analysis, it can be found that most of philosophical characters such as Yin and Yang are transliterated by Luo, who does not provide additional explanations or supplementary background information. Without pre-connotations, this kind of translation would make the target language readers and feel confused and think that the translated work is obscure.

====3.5 Translation Strategy of Culture-loaded Words of Rhetoric====
The language of Chinese medicine has its unique features, which are mainly manifested in its literariness, rich philosophical thoughts, and good at comparing images and analogies. Various rhetoric techniques can be seen everywhere in the book. While deepening people’s understanding of the original text, it also increases the difficulty of literary translation into English. The correct transmission and translation of the true meaning requires a solid foundation in Chinese medicine and linguistics.

Example 1四肢烦疼：

Translation：the patient feels heavy and painful in the extremities

The "烦" in this phrase, Explanation of Treatise on Febrile Caused by Cold and other books explain it as an annoyance, a kind of feeling for people. The Chinese sentence here is a non-spirited sentence to replace people with limbs. Luo’s version of the translation emphasizes people's feelings. It rather focuses on people's feelings of heavy pain in their limbs, than translates people's feelings of boredom.

Example 2：啬啬恶寒，渐渐恶风，翕翕发热

Translation：The patient feels chill and fears wind, uneasy because of a fever.

Among them, “啬啬” “渐渐” and “翕翕” manifest various kinds of rhetoric techniques. “啬啬” reflects the howling shudder look, expressing that the degree of people’s aversion to cold is severe. And “渐渐” describes the onomatopoeia of mild wind and rain, while “翕翕” describes the appearance of mild fever, but these characters are not translated in Luo's translation, and Luo adopts the omission method.

===4. Conclusion===
''Treatise on Febrile Caused by Cold'' is a classic work of Chinese medicine and a treasure of Chinese medicine culture. The translation and dissemination of this book has extraordinary significance for the promotion of Chinese culture and the connotation of Chinese medicine. The culture loaded words are the condensed form of the unique national culture, and their translation is related to the readability of the entire book. The English translation of culture loaded words in Chinese medical classics is an extremely complex cross-cultural translation activity. It not only takes cultural characteristics into account, but also reflects the characteristics of scientific and technological styles, which is a great test for the level of translators. Professor Luo’s translation of this book is the world's first fully translated English translation of TCM classics. The book was published earlier than most translations. Under the background of that time, Luo Xiwen's translation of Treatise on Febrile Caused by Cold is no doubt of pioneering significance.

The translation strategies Professor Luo chooses are basically literal translation, free translation, omission, and transliteration, with few additional interpretations. Each of these translation strategies has its own advantages and disadvantages. The ultimate goal of translation is for readers to better understand the original text, and there is definitely a great similarity between the two different medical systems of Chinese and Western medicine, which cannot be separated. Literal translation can be used appropriately, and some of Western medicine terms can be used to express some concepts of that of Chinese medicine. Literal translation is a translation method that maintains both the original content and the original form. Generally, when the target language and the original language can express the same content in the same form, we will use literal translation. However, culture loaded words are the difficulties of translation due to the vocabulary vacancy in the target language. The use of literal translation seems to be contradictory. In fact, the choice of literal translation is also for the construction of the concept of TCM culture. Although Chinese medicine culture loaded words are not only a language full of Chinese national characteristics, but also a part of the world's national culture. We should also have full cultural self-confidence. In the translation process, we should dare to retain the national cultural characteristics, express the Chinese medicine culture with the conceptual language of Chinese medicine, and present the pure and natural Chinese medicine culture to Western readers, so as to increase the understanding, recognition and respect of the Chinese medicine culture. This is why Professor Luo extensively use transliteration is his translation, which reflects his care and thought. At the same time, we have to admit that Luo’s translation also has its shortcomings, such as mistranslation or incomplete translation of culture loaded words with multiple meanings, omission of some modifiers, and no supplementary explanations for relatively large differences between Chinese and Western cultures. In the future, Chinese medicine Translation needs to continue to explore, innovate, revise and develop.

All in all, the translation of Chinese medical culture loaded words must not only maintain national cultural characteristics, but also be conducive to the understanding and acceptance of target readers. All major translation strategies are worthy of careful consideration. Only translators familiarize themselves with the original text, master the similarities and differences between the two languages, choose the most appropriate translation strategy in different contexts, and supplement the relevant cultural background when necessary to help readers understand, translations of Traditional Chinese Medicine classics can be rather outstanding.

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--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 14:07, 8 December 2021 (UTC)

=15 陈静 The Translation of Culture-loaded Words From the Perspective of Skopos Theory: A Case Study of ''Xi Jinping: The Governance of China''=
[[Cult_Load_Words_EN_15]]
===Abstract===
The Communist Party of China celebrates its 100th anniversary in 2021. Xi Jinping: The Governance of China (Volume III) was published at a critical juncture. Xi Jinping's political vision is expanded in the third version. This book provides foreign readers with a window into China's leadership and insight into China's unique governance. Hence, the book is critical in assisting foreigners in understanding China's political position in domestic and international affairs. The purpose of this article is to investigate and analyze the translation strategies of culture-loaded words in Xi Jinping: The Governance of China (Volume III) using the framework of the Skopos Theory.

===Key words===
Culture-loaded words; Skopos theory; ''Xi Jinping: The Governance of China
''

===Introduction===
this subtitle is repeated I think, you can delete this one. And delete this my sentence as well.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:48, 13 December 2021 (UTC)

===1. Introduction===
====1.1 Research Backgrounds====

Language is a cultural carrier as well as an important means of understanding specific ethnic and national cultures. Each country’s language contains more or less culture-loaded words, and the connotation of these words differs from people’s general cognition of them in the context of globalization, reflecting their own unique culture, national color, and historical context. Because each nation has its own development history, social system, ecological environment, religious beliefs, and so on, the language will inevitably derive a large number of words, allusions, and idioms condensing the national historical and cultural characteristics during the development process of history. With a five-thousand-year-long history, Chinese has amassed a large number of culture-loaded words, and translation of culture-loaded words is an important carrier for cultural readers from other countries to understand Chinese culture without relevant cultural background.

From my perspective, "five-thousand-year-long history" is a little Chinglish, maybe "five-thousand-year history" is better.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:58, 13 December 2021 (UTC)

At the specific practice level, a large number of culture-loaded words will inevitably appear in the text as a material to publicize all aspects of the country. A good example is Xi Jinping: The Governance of China (Volume III). General Secretary Xi Jinping quoted classics and used approachable language in his speech. His use of words infused with Chinese culture made this series of speeches more vivid and appealing to the audience. Through careful text reading, analysis, and summarization, it has been discovered that the culture-loaded words used in Xi Jinping: The Governance of China (Volume III) primarily fall into the following categories: Chinese political words, including political slogans and political characters; a large number of ancient Chinese poems, with cultural connotation primarily reflected in the characters, allusions, and images appearing in poetry; unique Chinese sayings and idioms; and special words with Chinese cultural connotation, such as numbers, etc. The translation of culture-loaded words necessitates translators faithfully conveying the essence and soul of their national culture while accurately and properly understanding the beliefs, customs, and aesthetic values in other national cultures in order to achieve true cultural communication. As a result, in order to achieve the goal of Chinese culture spreading, translators should carefully deal with culture-loaded words and strive to accurately convey the essence of traditional Chinese culture to target language readers.

====1.2 Research Significance====

China’s politics and policies are attracting increasing attention from the outside world as China’s overall national strength and economic development improve. The Communist Party of China celebrates its 100th anniversary in 2021. This is a significant event in Chinese ruling party's historical and political development. ''Xi Jinping: The Governance of China (Volume III)'' was published at a critical juncture. Xi Jinping’s political vision is expanded in the third version. The language in the book is rich and diverse. In addition to general political terms, the book employs rhetorical devices such as exclusion and repetition to improve the language’s persuasion. The books also contain a large number of poems, proverbs, and idioms rich in Chinese cultural heritage. A minor blunder may result in cultural misunderstanding, a negative national image, and an impact on international relations.

According to Gao Fang (2010), in the context of “Chinese culture go out”, the country has taken various measures to strengthen cultural export, but Chinese readers disregard for local literature, western readers of Chinese culture cognition, English world innate discrimination against translation work and translation strategy decisions, which reflects the difficulties in the broadcast of Chinese culture. As a result, it has piqued the interest of the domestic literary circle, the translation circle, and various publishing institutions: how to successfully realize cross-cultural communication of cultural works, how to properly and effectively solve the translation problem?

The paper uses the English translation of culture-load words in ''Xi Jinping: The Governance of China'' as the research content, and attempts to summarize and analyze the translator’s translation strategy and rationality when translating Chinese culture-loaded words from the perspective of Skopos Theory, as well as providing a reference for the English translation of Chinese cultural load words in current publicity materials.

===2. Literature Review ===
====2.1 Culture-loaded Words====

Nida proposed the theory of culture-loaded terms translation for the first time in 1945.

Nida classified culture-loaded terms into five categories, including ecological, material, social, religious, and linguistic culture-loaded terms. Ecological culture-loaded terms are words or phrases that are distinct due to their ecological and environmental conditions, which typically involve animals, plants, and climate. Material culture-loaded terms refer to physical objects that are specific to a culture, such as vehicles, food, or clothing. Social culture-loaded terms encompass a broader range of cultural content, encompassing all aspects of social life such as cultural background, social rules, history, traditions, and so on. Religious beliefs, including myths and fairy tales, are examples of religious culture-loaded terms. Linguistic culture-loaded terms are expressions with rich cultural characteristics, such as specific pronunciation, word, and syntax. From the author’s perspective, Aixela (1996) provided two primary classifications of culture-loaded terms: specialized nouns and common expressions.

Newmark (2001: 70) classified culture-loaded terms into five categories based on Nida’s research: proper names, historical institutional terms, international institutional terms, national institutional terms, and cultural terms. Proper names, according to Newmark (2001: 70), refer to “persons, objects, and processes distinctively owned by an ethnic community with singular references”. Brand names, trademarks, geographical names, names of newspapers, firms, journals, and private institutions, as well as proprietary names, are all examples of proper names, according to Newmark (2001). According to Newmark (2001: 74), historical institutional terms are “token words that give color and flavor to a period”. International institutional terms are words used by international organizations that have an official translation. According to Newmark (2001: 75), national institutional terms are those involving modern politics, finance, administration, and society. The scope of general cultural terms is broader, including ecological terms, loanwords with no specific cultural characteristics, and so on.

Chinese academics also proposed their own classifications of culturally charged terms. Tu Guoyuan (1996) agreed with Nida and Newmark’s classification and defined culture in a broader sense as human society's mental and practical activities. In a broad sense, culture is defined as a community's distinct way of life and how it expresses its ideas. Culture-loaded terms, according to Liao Huihua and Ge Lingling(2010: 101), are words, phrases, and idioms that represent unique items in certain cultures. These terms reflect the distinct activities of specific ethnic groups that have accrued over time and distinguish them from other cultures.

====2.2 The Skopos Theory====
Skopos Theory, the foundation of Functionalist Translation Theory, was proposed by Vermeer, a student of Reiss. According to Skopos Theory, the primary principle determining the translation process is the purpose of translation activities.

There are three types of purposes, according to Vermeer. To begin, there is a broad goal that a translator strives for, such as translating as a source of professional income. Second, a target text's communicative purpose in a target context, such as instructing the audience. Third, the goal of a translation strategy or approach, such as displaying structural characteristics of the source language. The theory views the source text as a "offer of information in a target culture," which is a result of constructivist comprehension theories.

The Skopos Theory states that there are three basic rules.

First and foremost, the Skopos rule. It is the highest-ranking rule for any translation, implying that translation activities are determined by the translation purpose. Each text is written with a specific purpose in mind and should be used for that purpose only. Because translation behavior is determined by the purpose of the translation, the Skopos rule is the primary rule for all types of translation.

The coherence rule is the second. This rule states that the target text must be coherent enough to be understandable given the intended receivers' background and context. At the very least, the translator should ensure that the translation is understandable to people from the target culture. Furthermore, only when the target text meets the standard of being intratextually coherent can it be expected to play a presupposed role in the communicative situation and culture in which it is received, and the audience will understand it without difficulty.

The third is the rule of fidelity. This rule focuses on the intertextual coherence between the translation and the original text, which is not the same thing. The former is thought to be inferior to the latter, and both are subject to the Skopos rule. When the purpose of the function changes, the standard is no longer intertextual coherence with the source language, but adequacy or appropriateness in relation to the purpose (Reiss and Vermeer, 1984). It is critical in translation that there is intertextual coherence between the source and target texts, and the form of this coherence depends on both the translator's understanding of the original text and the translator's translation purpose. There is only one possible intertextual coherence: maximum fidelity to the original text.

Skopos Theory’s three basic rules are intended to guide the translator throughout the translation process. In most cases, the translation cannot meet all three rules at the same time because doing so causes it to deviate from the original intention of the source text. In general, the Skopos rule should be followed by the coherence rule, followed by the fidelity rule, or, to put it another way, the need for loyalty is considered to be subject to intratextual coherence, both of which are subject to the Skopos rule. When a faithful translation of the original text cannot be effectively understood by receivers of the target text, the translator should abandon the fidelity rule and follow the coherence rule, that is, to make the translation meaningful in the target language’s communicative context and culture. If the function changes, the required standard will no longer be intertextual consistency with the source text, but adequacy or appropriateness in terms of the purpose (Nord, 2001). If the purpose necessitates intratextual incoherence, the intratextual coherence criterion is no longer applicable.

====2.3 The Translation Strategies of Culture-loaded Words====

Wang Jianguo (2019) identified four limitations in translating culture-loaded words.

First, culture-loaded words are untranslatable. Culture has a distinguishing feature that sets it apart from the culture of the target language. Culture-loaded words are difficult to translate in certain literary works because they require more explanation and thus have the potential to influence the structural and aesthetic value of the target text. Second, cultural information that is highly relevant to the theme should be translated, and explanatory notes should be included as needed. If the culture-loaded word is unrelated to the source text, the target text will most likely be deleted or omitted. If the target text translated with literal translation can be understood, then literal translation is the most likely translation strategy to be used. Third, cultural values are difficult to convey. As a result, while translating culture-loaded words with Chinese characteristics, western media translation can be borrowed. Gu Hongmin, for example, translated “君子” as “a wise man”. Western culture emphasized wisdom, whereas Chinese culture emphasized benevolence. Gu translated “君子” as “wise man” because he thought the two words were culturally equivalent. Fourth, the principle of economy should be applied in translation. Wang discovered that when culture-loaded terms in the source text have little influence on comprehending the whole article, translators can find culturally equivalent words so that the target text will be more concise.

Wang also classified translation strategies into three categories: literal translation, non-literal translation, and translating words with unique cultural information.

The first strategy is literal translation. When there are words with similar cultural meanings, a literal translation is usually used. One type of literal translation is transliteral translation, which refers to the use of pinyin to translate culturally loaded words. Because transliteral translation preserves more cultural characteristics of the source language, it is frequently used in target text of the Big Breasts and Wide Hips. A translation strategy like this can help to avoid misinterpretation of the source language’s culture.

The second strategy is non-literal translation. This translation strategy is typically used in reader-friendly texts in the target language. Such a translation strategy does not adhere to the source text and overcomes constraints in language structure, which is a widely accepted strategy among targeted readers. Nonliteral translation strategies include explanatory notes both inside and outside the main body, including footnotes and tail notes. Filling-in translation is commonly used with literal translations, but it is also one of the non-literal translation strategies. Deletion refers to the practice of translators removing unnecessary words when the original meaning is unaffected.

The third strategy is to translate words that contain specific cultural information. Wang pointed out that idioms, aphorisms and maxims, two-part allegorical saying, the common saying, idioms and proverbs are the six major categories of idiomatic expressions. In many cases, the target text contains no words or phrases that are completely culturally equivalent to the source text.

===3. Analysis of Translation of Culture-loaded Words in ''Xi Jinping: The Governance of China''===
====3.1 Translation Strategy of Social Culture-loaded Words====

Social culture-loaded words reflect social ideology, which refers to the system in the form of social and economic factors in specific classes or groups. Social culture-loaded words encompass all aspects of social life, such as social activities, historical allusions, and festival customs. Words or phrases containing social culture-loaded words will emerge from a specific social context. As a result, it encompasses a wide range of word collocations. Political terms with Chinese characteristics, Chinese common saying, and rhetoric in Chinese are examples of social culture-loaded terms.

ST: 中国在人类发展史上曾经长期处于领先地位，自古以来逐步形成了一整套包括朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度、军事制度等各方面制度在内的国家制度和国家治理体系。

TT: Over a long period of history China led the world in development. It forged a complete set of state and governance systems covering the court, administration of prefectures and counties, land, taxation, civil service examination, supervision and the military.

“朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度” are institutions in the past of China that international readers may not be familiar with. In this case, the translators use literal translation by looking for words with similar meanings in the target language and the source language while adhering to the fidelity rule. “郡县” is translated into the modern expression of “prefectures and counties”. Such a translation strategy is in accordance with the principle of efficiency in dealing with cultural information. When the cultural information in the source text has limited influence on comprehending the entire passage, most translators will use a common strategy of finding words or phrases with similar meanings. By doing so, the original context's structure is not jeopardized, and the target text can adhere to the original meaning, which meets the fidelity rule’s requirement.

A similar strategy is adopted in translating “税赋” and “土地”. As for“税赋”in ancient China, the feudal land tax and taxation are included. However, the purpose of this excerpt is only to provide context for China's magnificent culture. Translators look for culturally equivalent words so that the target text is more precise and coherent. When translating “税赋”, since feudal land tax is a unique expression of the social system in ancient China and has little influence on the meaning of the whole passage, the translators use deletion and only translate the meaning of “税”. “土地制度” is also translated into the brief version of “land”, also using the strategy of deletion. Instead, inline annotation is used by translators when translating “科举制度”. “科举制度” is a unique examination system for public officials in ancient China, and it is difficult to find culturally equivalent words for it. To avoid misinterpretation from international readers, the translators explain this noun through explanatory notes, employing the Skopos rule to ensure effective cross-cultural communication. The translators take into account the cultural backgrounds of international readers and used culturally equivalent words in the target language. The goal of these two different translation strategies is to make cross-cultural communication easier. The Skopos rule and the coherence rule have been followed as a result of these strategies.

ST: 广大青年要坚定理想信念，志存高远，脚踏实地，勇做时代的弄潮儿，在实现中国梦的生动实践中放飞青春梦想。

TT: To all our young people, you should have firm ideals and convictions, aim high, and have your feet firmly on the ground. You should ride the waves of your day; and in the course of realizing the Chinese Dream, fulfill your youthful dreams.

“弄潮儿” is a common Chinese saying that originally referred to swimmers who swim against the tide but has since come to refer to people who are brave and entrepreneurial. This phrase has Chinese cultural characteristics and comes from a poem written during the Tang dynasty. This phrase was translated literally by the translators in accordance with the fidelity rule. The fidelity rule requires translators to avoid contradicting the original meaning of the source text while making the translation more understandable in light of the cultural differences. In the target text, the translators use literal translation to directly translate “弄潮儿”, implying that people should follow the trend of the times, which also meets President Xi’s extended meaning. Certain cultural information has its uniqueness, making it untranslatable. “弄潮儿” is a distinctive Chinese expression, and “ride the waves” refers to enjoying the advantage or benefit of a particularly successful, popular, fortunate or interesting moment. It can be difficult to find phrases that are completely culturally equivalent, so the translated version restored as much of the original information as possible, demonstrating how the fidelity rule is applied in the target text.

The above-mentioned social culture-loaded terms demonstrate a high level of adherence to the coherence rule and the Skopos rule, most likely due to the fact that social culture-loaded terms vary greatly across cultures. Target readers may find it difficult to interpret translations that strictly adhere to the fidelity rule, whereas translations that adhere to the coherence and Skopos rules can better facilitate cross-cultural communication. According to the appendix’s collected social culture-loaded terms, the majority of social culture-loaded terms used deletion, literal translation, and inline annotation. These three strategies allow international readers with limited knowledge of Chinese society to comprehend China’s policies and read the volume fluently.

====3.2 Translation Strategy of Material Culture-loaded Words====

Material culture-loaded words include material products and technology invented by human beings derived from the development of society. The third volume’s material culture-loaded terms can be divided into four categories: construction, items, literary works, and names. Most material culture-loaded terms use transliteration and amplification strategies when translating literary works and names, as well as substitutions when translating constructions and products. Materials can have a variety of meanings in different cultures. For example, in Chinese culture, the terms “勤务员” and “伙夫” are distinct expressions that may not have equivalent words or phrases in English. While translating these words, translators should be aware of expressions in Western culture with similar meanings.

ST: 中华民族伟大复兴，绝不是轻轻松松、敲锣打鼓就能实现的。

TT: Achieving national rejuvenation will be no walk in the park; it will take more than drum beating and gong clanging to get there.

East and Southeast Asian musical instruments include drums and gongs. Gongs and drums, with their symbolic meaning of hyping up, can be used in times of grand celebrations in Chinese culture. President Xi is emphasizing the difficult efforts that the Chinese people must make in order to achieve national rejuvenation. As a result, the translators use the translation strategy of addition to limit the boundaries the source text may transform so that the readers can have a more precise understanding, as shown in this excerpt by how the Skopos rule is applied. Meanwhile, the translators render the phrase as "drum beating and gong clanging," demonstrating the fidelity rule. The literal translation is used here to restore Chinese cultural connotations. The fidelity rule in translation requires equivalence in meaning and refers to word for word translation. In this case, the translators have kept the names of well-known Chinese musical instruments. At the same time, the translators explain their connotations, in order to maintain the fidelity of the target text to the source text and to improve cross-cultural communication. Understanding and conveying information of “rejuvenation is no easy task” to international readers is facilitated.

ST: 天宫、蛟龙、天眼、悟空、墨子、大飞机等重大科技成果相继问世。

TT: ... with major advances made in science and technology, including the successful launch of space lab Tiangong, the commissioning of the deep-sea manned submersible Jiaolong and of the five-hundred-meter aperture spherical telescope (FAST) Tianyan, the launch of the dark matter probe satellite Wukong and the quantum science satellite Mozi, and the test flight of the airliner C919.

In material culture-loaded terms, the aforementioned Chinese innovations fall under the category of "names." Tiangong, Jiaolong, Tianyan, Wukong, and Mozi are all important cultural figures in China, representing advances in science and technology. The translators use inline annotation to further explain these terms, demonstrating the application of the Skopos rule. This type of explanatory inline annotation takes into account English readers' understanding of Chinese culture-loaded terms. It is a limitation of language form of culturally loaded terms that also facilitates international readers' understanding of Chinese cutting-edge technology. Though the length of the article is longer, semantic conveyance can be realized through the explanation that Tianyan is the five-hundred-meter aperture spherical telescope, and the purpose of the book of showing international readers China’s accomplishments is achieved. The original names are faithfully conveyed through transliteration of these advances in science and technology. On the one hand, international readers can still see Chinese culture embodied in cutting-edge technology. Readers from different cultures, on the other hand, can still understand what these terms are thanks to inline annotation, which follows the Skopos and fidelity rules.

In these examples, the fidelity rule takes precedence over the skopos rule. Material culture-loaded terms are typically objects with Chinese characteristics. In most cases, these objects will have no effect on the coherence of the target text. As a result, fidelity to the original text and facilitation of cross-cultural communication are given top priority. Transliteration and inline annotation are the most widely used methods for translating material culture-loaded terms, demonstrating that translators prioritize preserving cultural information and making target text easily understood by international readers.

====3.3 Translation Strategy of Linguistic Culture-loaded Words====
Linguistic culture-loaded words reflect phonetic meaning of language at the language family level. In contrast to English, Chinese language, particularly idioms, typically uses four-character structures. Linguistic culture-loaded terms can be found in a variety of contexts. Linguistic culture-loaded terms include idioms, classical literary prose, the two-part allegorical saying, proverbs, and so on. Linguistic terms that are culturally loaded are more difficult for international readers to understand. As a result, translators must employ translation strategies that are both effective and skillful in order to facilitate cross-cultural communication.

ST: 鸦片战争后，中国陷入内忧外患的黑暗境地，中国人民经历了战乱频仍、山河破碎、民不聊生的深重苦难。为了民族复兴，无数仁人志士不屈不挠、前仆后继，进行了可歌可泣的斗争。

TT: But with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression; its people, ravaged by war, saw their homeland torn apart, and lived in poverty and despair. With tenacity and heroism, countless dedicated patriots fought, pressed ahead against the odds, and tried every possible means to seek the nation’s salvation.

In this excerpt, “战乱频仍”，“民不聊生”, “仁人志士”, “不屈不挠”, “前仆后继” and “可歌可泣” are Chinese idioms, with distinct national characteristics in language structure and expression. These idioms have a distinct origin in Chinese culture and are inextricably linked to national culture. It is not necessary to find culturally equivalent idioms in English when translating these idioms. The Chinese nation and Western countries share a wide range of values and aesthetics. If too many idioms are used in English translation, the same tired formulas will appear. The translations of these idioms are divided into two categories based on the coherence and fidelity rule. The first is deletion, and the second is literal translation. These idioms are intended to demonstrate that, even in difficult situations, Chinese patriots are willing to press on, which has a low chance of causing cultural misinterpretation for international readers. As a result, “战乱频仍”, “民不聊生”, “不屈不挠” and “前仆后继” adopt literal translations that improved the original meaning and demonstrated how the fidelity rule is applied. “仁人志士” is translated as “dedicated patriots” because, while it originally referred to people who were charitable, its meaning later evolved to patriots, which is also translationally adapted to the context. This translation eliminates ambiguity and allows for a more coherent reading experience. Meanwhile, “可歌可泣” was removed while translators worked from a results-oriented perspective and demonstrated the outcome of their struggle, which is "tried every possible means to seek the nation's salvation." The coherence rule was followed in this case by making the reading process for the target text readers smooth and interrupted.

ST: 应该风雨同舟，荣辱与共，努力把我们生于斯、长于斯的这个星球建成一个和睦的大家庭，把世界各国人民对美好生活的向往变成现实。

TT: We are in the same boat, and we should stick together, share weal and woe, endeavor to build this planet of ours into a single harmonious family, and turn peopled longing for a better life into reality.

The translators used two translation strategies in the passage: literal translation and full implication. These strategies adhere to the Skopos rule. When translating “风雨同舟” and “荣辱与共”，the translators restore the meaning of the two idioms, because these two idioms are an essential part of the source text in the construction of meaning. However, “生于斯、长于斯” has been translated into “the planet of ours", demonstrating the adoption of full implication. “生” and “长” are part of the process, and this process is implicated in the “the planet of ours”, which is a result-oriented structure. The translators omitted the process and presented the end results to international readers, restoring the meaning, by employing various translation strategies. The use of various strategies exemplifies the Skopos rule of facilitating cross-cultural communication.

The examples above show that the coherence rule and the skopos rule can be found frequently in the translation of these linguistic culture-loaded terms. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded terms. Linguistic culture loaded terms are words or phrases with distinct Chinese characteristics; thus, most translators adhere to the Skopos of improving cross-cultural communication and use literal translation and inline annotation to preserve cultural value. In some cases, the linguistic culture-loaded terms are too difficult to restore their implication; therefore, the translators used deletion and full implication to improve the reading experience of international readers, demonstrating the importance of the coherence rule in the target text. With the impression that international readers will be unable to fully comprehend the meaning of such cultur3-loaded words unless they have a basic understanding of the Chinese social, ecological, and cultural environment, translators should shoulder the responsibility of selecting different translation strategies under the guidance of the Skopos theory and constructing a bridge between different cultures.

====3.4 Translation Strategy of Ecological Culture-loaded Words====

Ecological culture-loaded words reflect the climatic features, natural environment and geographical conditions in an area. People from various regions have distinct expressions that reflect regional characteristics. There are three major categories of ecological culture-loaded terms: animals, plants, and places. Cows and oxen, for example, are animals that represent diligence and industriousness in China, whereas in Western countries, the expression "work all day like a donkey" is common. As is well known, the geographical environment of China gives rise to an agriculture-based culture with a large vocabulary for animals and plants. It explains why many idioms in Chinese and English have completely different meanings. To help international readers fully understand different cultures, translators should use different strategies when translating ecologically and culturally loaded terms. The following examples will demonstrate the use of translation strategy.

ST: 坚定不移“打虎”、“拍蝇”、“猎狐”

TT: We have taken firm action to “take out tigers”, “swat flies”, and “hunt down foxes”.

In Chinese culture, the tiger is both a revered entity and a hunted beast. Tigers are used as a symbol of vigor and vitality in Chinese idioms such as “虎虎生威” (forge ahead with the vigor and vitality of the tiger) and “生龙活虎” (with furious energy). Nonetheless, there are numerous expressions and literary works in which tigers are portrayed as ferocious villains, such as the stories of Wu Song or Li Kui beating tigers. President Xi Jinping’s expression here is reminiscent of tiger figures in fiction, in which heroes battle tigers. The image of a tiger has various meanings in Western culture as well. On the one hand, it is associated with beauty and power, but it has also been referred to as a man-eater on numerous occasions. Tigers are described as “burning bright” and “dare seize the fire”, but it also appeared in Jim Corbett's adventures in India, where he used to hunt "man-eaters," including tigers. Because the images of tigers are so similar, the translators used literal translation in their translation strategy under the rule of fidelity. To save space, translators will use literal translation when a targeted language has words with the same or similar cultural meaning as the source language. Meanwhile, the ecological culture-loaded term revealed the Skopos theory’s fidelity rule. “打虎”, “拍蝇” and “猎狐” are expressions with Chinese roots. Fighting corruption is like fighting tigers, flies, and foxes. Tigers and flies can refer to corrupt officials at various levels in these expressions, while the original meaning of the source text is preserved. It is difficult to find words in Western culture that are culturally equivalent to these ecologically loaded terms. Therefore, the translators did not change the meaning of source text by using literal translation. Such selection of translation strategy shows how fidelity rule is applied.

ST: 深入开展调查研究，解剖麻雀，发现问题。

TT: We should conduct in-depth research to identify prominent problems.

In Chinese culture, there is an old proverb of “麻雀虽小五脏俱全”, which means “A sparrow may be small but it has all the vital organs”. Sparrows can represent small but vital items, whereas such expressions are difficult to find culturally equivalent terms in Western culture. The similarity between “解剖麻雀” and “发现典型” is understandable in Chinese, but the literal translation of “anatomy of a sparrow” may be difficult to grasp for an international audience. As a result, translators use deletion to make target text more fluent without affecting the original text, and the coherence rule is demonstrated in the translation strategy selection. The translation of “解剖麻雀” is omitted, and the translation of “发现典型” encompasses the extended meaning of “sparrow as the major problems”. If both terms are translated, the English expression will be reductant and not conform to English expressions. According to the coherence rule, the author omitted the explanation of why sparrow means prominent problems to facilitate readers’ reading experience and made the reading uninterrupted.

The example above show that when translating ecological culture-loaded words, translators would consider three rules of the Skopos theory, with the coherence rule taking precedence. It is most likely because most ecological culture-loaded words are names of places or animals, which may be unfamiliar to international readers. To ensure that target readers read in a consistent manner. In translating ecologically loaded terms, the translators use literal translation (including transliteration, implication, and deletion). The mixed-use of translation strategies revealed various rules that are used in translation.

===4. Conclusion===

Since the publication of ''Xi Jinping: The Governance of China (Volume III)'', it has served as the Chinese government's authoritative voice and a window for the rest of the world to understand China's policies. It crystallizes Chinese governance theory and practices and has high research value.This thesis is concerned with the classification of culture-loaded words, their translation strategies, and how these strategies demonstrate the application of three Skopos theory rules.

The Skopos theory, according to the analysis of these examples, can be used as a guiding principle for translating texts similar to those in ''Xi Jinping: The Governance of China (Volume III)''. The Skopos rule states that the translation strategy is determined by the purpose of the target text. The coherence rule, also known as intertextual coherence, requires readability in the target text and will not cause dyslexia in grammar or logic. Using the fidelity rule, the target text should be faithful to the original text. However, the fidelity rule does not require literal word-for-word translations; rather, it necessitates flexibility on the part of the translator.

Following a brief examination, it is discovered that culture-loaded words in ''Xi Jinping: The Governance of China (Volume III)'' can be divided into four major categories, with social and linguistic culture-loaded words accounting for the lion’s share. The coherence rule is frequently demonstrated in the translation of ecological culture-loaded words. Names of places or animals are examples of ecological culture-loaded words. To achieve coherence in the target text, the translators employ literal translation (including transliteration), implication, and deletion strategies when translating ecological culture-loaded words. The fidelity rule and the Skopos rule are frequently seen in target text when translating material culture-loaded words. The majority of material culture-loaded words are objects with Chinese characteristics. Transliteration and inline annotation are the most widely used, demonstrating that translators prioritize being faithful and making target text understandable to international readers. The translation of social culture-loaded words demonstrates a high level of adherence to the coherence and Skopos rules, which is likely due to the fact that social culture-loaded words differ greatly across cultures. The majority of social culture-loaded words were deleted, literal translated, or annotated inline. These three strategies promote coherence in the target text, making it easier to read and comprehend. Linguistic culture-loaded words are words or phrases that have distinct Chinese features. When translating terms of this nature, the translator usually adhered to the coherence and Skopos rules. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded words.

To sum up, different translation strategies are very important and indispensable. Different translators would adopt different translation strategies when translating culture-loaded words due to the constraints of history, politics, culture, language and translation objectives. In order to better carry out the translation and transmission of literature and culture, different translation strategies should be used together to supplement each other.

===References===
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Reiss Katherina, Vermeer Hanss J. General Foundations of Translation Theory[M]. Tubingen： Niemeyer, 1984.

王建国. 汉英翻译学：基础理论与实践[M]. 北京：中译出版社，2019.

习近平. 习近平谈治国理政(第三卷)[M]. 北京:外文出版社，2020.

习近平. 英文翻译组译校. 习近平谈治国理政(第三卷) XiJinping on Governance[M]. 北京:外文出版社，2020.

张海燕.文化转向视角下的《习近平谈治国理政》核心术语英译特色解析[J].天津外国语大学学报,2021,28(05):77-88+159-160.

栗慧敏,牛桂玲.中央文献翻译与传播研究的现状与趋势——以《习近平谈治国理政》为例[J].民族翻译,2021(04):22-32.DOI:10.13742/j.cnki.cn11-5684/h.2021.04.004.

吴霜,何泠静.交际翻译理论视角下文化负载词英译研究——以《习近平谈治国理政》英译本为例[J].汉字文化,2020(23):127-129.DOI:10.14014/j.cnki.cn11-2597/g2.2020.23.061.

高慧贤,张浩,王浩勇.目的论视角下《治国理政》儒学文化负载词英译研究[J].作家天地,2020(07):58+60.

赵珊,林榕.目的论视阈下文化负载词的翻译策略[J].山东农业工程学院学报,2017,34(12):27-28.DOI:10.15948/j.cnki.37-1500/s.2017.12.014.

李文博.基于读者反应论视角下汉语文化负载词的韩译研究——以《习近平谈治国理政》为例[J].国际公关,2020(06):172-174.DOI:10.16645/j.cnki.cn11-5281/c.2020.06.104.

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Culture loaded words

2021-12-14T07:32:31Z

Cheng Yang: /* 13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in Border Town:A Case Study of Dai Naidie’s English translation */

'''Culture Loaded Words'''

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=1 羊叶 The Analysis of Culture-loaded Words of English Subtitle Translation in Chinese Movies-Taking Farewell to My Concubine as an Example =
[[Cult_Load_Words_EN_1]]

电影中英译字幕文化负载词的翻译分析——以《霸王别姬》为例
=== Abstract ===
Nowadays, popular films are increasingly active on the Internet. Confronting such a mass need for film translation, subtitle translation is winning more favor compared with traditional dubbing translation. This paper, taking Farewell My Concubine as an example, analyzes the strategies and methods of translating culture-loaded words. The conclusions are as follows: In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

=== Key Words ===
Subtitle Translation; Farewell My Concubine; foreignizing method; domesticating method
=== 摘要 ===
如今，电影在互联网上越来越受欢迎。比起传统的配音翻译，字幕翻译更受青睐，电影对字幕翻译的需求巨大。本文以电影霸王别姬为例，分析翻译文化负载词时所用的翻译策略和翻译方法。结论如下：就译者而言，翻译者需精通中文和英文两种语言；就翻译策略而言，归化与异化两者对立且相互统一，没有绝对的归化、异化之说；就翻译方法而言，在翻译文化负载词时，贾佩琳主要采用了意译、直译、具体化、一般化、省略等翻译方法，成功地保留和传达了北京方言和京剧的国粹部分。
=== 关键词 ===
字幕翻译；霸王别姬；异化；归化
=== Introduction ===
1.1Research Background

Innovation of information technology brings energy for the advancement of broadcasting ways of film and television programs. More and more foreign popular films are increasingly active on the Internet; more and more local films with Chinese elements are also introduced abroad. Researchers on subtitling translation are becoming more and more important.
China's Opening-up and Reform facilitates the cultural communication between China and the outer world. In the introduction of foreign films and TV plays, language understanding becomes an obvious barrier for audiences. Two major solutions to solve such a barrier are dubbing and subtitle translation. "Subtitles sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen." Relatively, the latter one is more favorable than the traditional dubbing way because of its cost-effectiveness, short producing cycle and audience-acceptability. With higher educational background and foreign language level, many Chinese audiences expect that films can be displayed with “a natural and original flavor” nowadays.
Under such circumstances, subtitle translation seems to be more acceptable to get access to foreign audience. Among so many elements involved in the subtitle translation process, the translator plays the most significant part, thus becoming a key and central element in the subtitle translation system. Therefore, a good subtitle translation with “a natural and original flavor” sets high and strict requirements for the translator.（Liao, 2000: 231）

1.2 Brief Introduction to Farewell My Concubine

Farewell My Concubine, the film version adopted in this thesis is the 1993 one whose heroes and heroines are Duan Xiaolou (acted by Zhang Fengyi), Cheng Dieyi (acted by Zhang Guorong) and Ju Xian (acted by Gong Li) respectively. In the film, Xiaolou and Dieyi are fellow apprentices learning Beijing opera performance together from childhood. Later on, their cooperation in the opera Farewell My Concubine makes them famous overnight throughout Beijing city. Thereafter, they make a promise to each other that they will perform Farewell My Concubine together as long as they are alive. However, their different understandings of the relationship between the opera and life finally lead to their different choices: Until mid-age, Xiaolou deeply knows that the opera isn't his whole life, so he gets married with a famous whore called Juxian; Dieyi, however, becomes totally immersed in the complicated plots and role relationships of the operas, especially Farewell my Concubine. Around such a classic and famous opera, the love and betrayal among them become escalating with the changes of times and eventually develops into a tragedy.
It is the first film that won the Golden Palm Prize in mainland China. It has been keeping the highest-grossing record of Chinese melodrama movies in America which also marks the climax of Chinese films in America. Meanwhile, it also got great box-office successes in such countries as Japan, Germany, Korean, France and so on. It should be concluded that Farewell My Concubine has achieved great success both in the art and business.
In Farewell My Concubine, Beijing Opera art is the central cultural element. It is a typical representative of classical Chinese literature art. Taking it as a case study, general and concrete subtitle translation strategies can be concluded to improve translation quality of similar subtitle translation works.

1.3 Brief Introduction to translator Linda Javin

Linda Javin, the subtitle translator of Farewell My Concubine, is a suitable and qualified person for both the director and the audiences. Since 1976, Linda has been playing an important and active role in broadcasting, studying and exploring Chinese culture. As an internationally renowned sinologist, translator and writer, Linda Javin has made great efforts in learning, feeling and appreciating Chinese culture. It is really a tough time full of difficulties and hardships under the specific social conditions then. After years of efforts to learn Chinese language, history, literature and many visits to China, Linda has begun to embark on her Chinese literary writing career recently. All these can prove that she is really a competent and qualified subtitle translator of Farewell My Concubine. Her wonderful bi-lingual and bi-cultural competence does give her favorable advantages in translating.

=== Analysis the Translation of Culture-loaded Words ===

2.1 Introduction to Culture-loaded Words

Gonzalez Davies and Scott-Tennent (2008, p.783) put forward a definition of cultural references in detail, which is "expressions (audiovisual, verbal, textual,
non-verbal) that are concerned with ecological, material, religious, social, emotional, and linguistic manifestation. In addition, these expressions are specific to a particular community, and they are recognized as a particular feature of that community. Such expressions, however, may lead to difficulties in comprehending these words or translating these words." And in China, a scholar defines it as "the words, phrases and idioms that mark the unique things in a culture." These words reflect the unique way of activities gradually accumulated by a specific nation in the long historical process, which is different from other nations.（Liao, 2000: 232）

It is more diverse to classify Culture-loaded words because China is an ancient national with a history of more than 5,000 years. In this course, many Culture-loaded words have accumulated continuously. Among all the materials, some scholars divide Culture-loaded words based on specific elements such as language and culture. Since different scholars hold different views on the classification of Culture-loaded words, and hence the fist can go on and on. Here is a well-accepted way by Nida. Nida (1945, p.196) divided language and cultural characteristics into five categories:(1)Ecological culture; (2)Material culture; (3)Social Culture; (4)Religious Culture; (5)Linguistic Culture.

2.2 The Features of Subtitles in Farewell My Concubine

Through comparison and analysis, the main language features of the Chinese lines of Farewell My Concubine are concluded as below: concise but emotional dialogue; strong Beijing Opera and Beijing dialect flavor; sharp but implicative expressions; rich of slang and idioms. All the features are drawn from the corresponding lines in the film and all these analysis in the language following features will be illustrated combining with the specific case interpretation. Thus, different translation strategies at different levels can be generalized and concluded to cater for the different language features.

The film takes place in Beijing and is thus featured with rich local color. The most obvious feature is the use of Beijing dialect. Beijing dialect is the basis of standard Mandarin, but there are some differences that make it easy for Chinese people to recognize which is which. Most prominent difference in phonology is the proliferation of rhotic vowels which results from the non suffix “儿” in vocabulary, Beijing dialect has a lot of words that are considered slangy and therefore occur much less or not at all in standard Mandarin. Some non-Beijing natives find it hard to understand what most of them mean, let alone foreigners. A dialect tells about the user's social class, status, profession, and many more. That is why so many translators are taking pains.

Beijing Opera is exactly a colorful part of the film has depicted. Beijing Opera was formed during the period of Daoguang(1821-1850). At the beginning, actors from Chu Opera such as Wang Honggui and Li Liu came to Beijing to perform in the Drama of Hui School. Later, combined with Erhuang melodies and Xipi melodies, in the same time, actors also absorbed the advantages of Kun, Beijing and Qin tunes from their respective schools. Beijing dialects were adapted to adapt to Beijing customs. Thus, it took shape initially. Gradually Beijing Opera developed into the most influential opera in the country. The characters in the whole film have a strong Beijing accent, and many opera excerpts in the film such as Farewell My Concubine, Peony Pavilion and Drunken Imperial Concubine are presented for many times. So it is inevitable to translate many professional terms.

2.3 Cases for Analysis

2.3.1 Brief Introduction to Translation Strategies

Before the specific analysis, let's have a understanding of two basic concepts of domestication and foreignization, which are important strategies in translating culture-loaded words.

The translation theory of domestication and foreignization was first put forward by Schleier Macher, a famous German translation theorist. In his book published in 1813, he put forward that there are only two ways of Translation: one is to guide the readers to get to know the author as much as possible; the other is to guide the author to get to know the readers as much as possible. In 1995, Lawrence Venuti, an American Italian translator, wrote in his important work The Translator's Invisibility, the first method described by Schleier Macher is called "foreignizing method" and the second method is called "domesticating method". That is to say, domestication is oriented by target language, while foreignization is oriented by source language.

As for Linda Javin, she once mentioned in an interview that in the face of the cultural essences in the lines, she adhered to the strategy of domestication in her translation and did not deliberately maintain the oriental flavor contained in the dialogue. Frankly speaking, she doesn't appreciate the way of retaining Pinyin combinations and then adding a lot of notes to make foreigners understood. If Chinese is pleasant to the ear, don't let the expression heard awkwardly in English. So the simplicity and directness are put above everything else to make it easy for the audience to understand.

2.3.2 Cases of Translation Methods

2.3.2.1 Literal Translation

As one of the common methods of translating culture loaded words, literal translation is to translate the source text according to the literal order or meaning, which can retain the original characteristics of Chinese language and culture.

E.g.1世卿世受国恩

岂敢昧法？

更不敢当众违背天理良心。

The government has always been good to me,

I wouldn't dare deceive the court.

Nor would I betray the laws of Heaven or my own conscience.

“天理”“良心” are terms that are quite commonly-used words in China. From literal works to daily talks, from traditional plays to modern films, such kind of expressions are useful guidelines to arouse Chinese People's self-reflection. They are invisible ethical rules guiding people's behaviors. Since they are so local and traditional, it's not surprising that it is a little complicated for foreign audiences to figure them out. Based on the "literal translation" principle, Linda brings "Heaven" into her translation. In Christian culture, "Heaven" serves as the source of various moral concepts and systems. "Heaven" and "God" are existed to guide and restrict people's behaviors. Linda's translation has wonderfully adapted to the target eco-environment and is really worthy of referencing of the subtitling workers and learners.

E.g.2磨剪子来，镪菜刀

Bring your knives for sharpening? Sharpen your knives.

Sharpening knives is a traditional craftsmanship that is disappearing in China. Their dreich yo-heave-ho can evoke many people's memories of childhood. Such lively lines full of traditional Chinese cultural elements, on the one hand, are not so easy to translate; on the other hand, deserve more efforts for the foreign audiences to figure out. Considering all these factors, Linda pays attention to the retaining of its central meaning. Actually, a more literal translation method "Sharpen your scissors, sharpen your knives" may achieve more active functions here. It's the easiest to understand, and it can save viewing and thinking time as well. As for some complicated cultural terms, the best way, the easiest as well, maybe literal translation, which can avoid misunderstanding and superfluous deducing. Finally, they benefit a lot to saving viewing time.

E.g.3什么时候洞房花烛夜啊？

What’s the time of Candle-lit-night in the Bridal Chamber?

“洞房花烛夜” is a typical expression in ancient times of China, which means the golden night of the new husband and new wife on the day they get married. The night usually is beautiful and memorable and it is the first night the new couple. As for this line, Linda did not specifically explain what is the “洞房花烛夜” , instead she use the literal meaning to depict a picture of the special night, translating “花烛夜” to “Candle-lit-night”, which is so warm and beautiful.

E.g.4横扫一切牛鬼蛇神！

Sweep away all Cow Demons and Snake Spirits!

There is an article titled “Sweep away all Cow Demons and Snake Spirits!” published on the People's Daily on June 1, 1966, which marked the climax of the Proletarian Cultural Revolution. The "Cow Demons and Snake Spirits" represents the old ideas, cultures, customs and habits that have poisoned Chinese people for thousands of years. Under the call of the Party Central Committee and Chairman Mao Zedong, hundreds of millions of workers, peasants and soldiers, revolutionary cadres and intellectuals, swept away a large number old things entrenched in the ideological and cultural position. Its momentum is like a storm, with extraordinary rapidity, breaking the spiritual shackles imposed on them by the exploiting class. Using “Cow Demons” to express “牛鬼”, “Snake Spirits” to express “蛇神” is direct, clear and distinct.

2.3.2.2 Free Translation

Free translation is the translation by meanings. That is to say, the translation is done according to the real meanings of a sentence or even a paragraph, instead of completely word to word.

E.g.1他祖师爷不肯赏饭吃，谁也没辙。

But I have no place for him. What can I do?

“祖师爷” is similar to "forefathers" to some extent in China's history. Without knowledge of the specific historical period, foreign audiences won't understand its exact meaning. Perhaps we can understand it as "destiny" "fate" or "god" of western culture, there are still cultural differences between them. From the plots in the film, we know that Mater does not want to accept Little Bean as his disciple, so he explains that Little Bean is not destined to be an actor. From this perspective, "destiny" is the most ideal choice to express the original meaning. Considering all these factors, Linda uses the strategy of "free translation" to put it as "I have no place for him" to refuse Little Bean's mother. Thus, she makes the lines easier to understand, and meanwhile, to avoid leading to a cultural misunderstanding.

E.g.2今儿个是破题儿，文章还在后头哪！

This is just the beginning. Wait till you see what's in store.

“破题” once appeared in "Romance of the Western Chamber” by Wang Shipu, a playwright of Yuan Dynasty. Since then, it has been widely used in various circumstances to refer to "the first time". From the translated version, it's clear that the translation of “破题” as "beginning" exhibits that the subtitle translator, Linda Javin, is quite familiar with the usage of the old Chinese words.

E.g.3真他妈想当太太奶奶啦你！

做你娘的玻璃梦去吧。

你当出了这门，把脸一抹擦，你还真成了良人了？

So you want to become a rich man's wife!

Go live out this goddamn fantasy' then

Don't think that when you walk out this door, you'll become a lady of virtue.

“太太奶奶” has different meanings in China in different social contexts. Without thinking or checking it, it's easy to translate it as "grandmother" "lady" or something like these. Besides, “良” means "good, kind", but here, “良人” doesn't mean "a good, kind or nice-hearted person", instead, it refers to the woman who has abandoned prostitution and become a traditional honest and good woman. Linda's translation of "a lady of virtue" is quite authentic and loyal to the original text.

E.g.4那么日后踏雪访梅，再谈不迟。

Ah, then we shall exchange poetic thoughts some other day.

“踏雪访梅” extracted from Night Vessel, written by Zhang Dai of Ming Dynasty. Originally, it's used to refer to describe the enjoyment with the beautiful scenery and the pursuit for wonderful poems of the ancient poets. In Farewell My Concubine, Mr Yuan invites Xiaolou and Dieyi to his house to have some wine and chat about certain details of the opera. The latter example is also full of cultural terms, which is said by Nakun when he tries to encourage Dieyi to talk with Xiaolou hurriedly and actively. In both examples, Linda deals with the cultural elements skillfully and flexibly.

E.g.4这武二郎碰上西门庆，不打，不打能成吗？

You know the old story about Pan Jinlian's husband meeting the man who screwed her? Did he have any choice but to fight?

It's an old story about Pan Jinlian and his husband in ancient China. When performing translation, a translator needs to place the specific written text under some relative social and cultural backgrounds. This is useful and meaningful for a better and comprehensive expression of the original meaning. The story of “武二郎”“西门庆” is typically traditional Chinese cultural element, the translated text can't be formed without relative culture knowledge. For some literary allusion, stating its general meaning to offer a general idea is very helpful for the audience to grasp the central meaning.

E.g.5这妞够厉害的呀！

What a dragon lady!

Different cultures have different cultural prototypes. Dragon is a propitious symbol in China. As a Chinese totem, all Chinese people see themselves as the grandsons of the dragons. It's a positive and lucky symbol for Chinese people. However, because of the cultural differences, the "dragon" in Western countries means more evil than good. Its fierceness and grisly outlooks make people feel uncomfortable. Thus, "a dragon lady" here, on the one hand, can show Ju Xian's courage for true love; on the other hand, the image of "dragon" can clearly show to the foreign audiences that Ju Xian is at the bottom of the society and she is despised by the social group. Linda's choice of "dragon" clearly shows her comprehensive consideration for the complicated circumstance then.

E.g.6关师父：各位爷，多捧场了啊!

Master Guan: Ladies and gentlemen, enjoy the show!

“各位爷” is a conventional Chinese way to address the male spectators with respect. However, in English, there is no such a counterpart. Therefore, the translator substitutes it with "Ladies and gentlemen", a conventional way to address the audience of a performance in English. “多捧场了啊” is also conventional in indicating the beginning of a show and literally means "support our show". However, the English convention has it as "enjoy the show." The translator thus conforms to target conventions to avoid deviation from audience's "expectancy norms" which are established by the native text in the receiver target of the translation, by their expectations of what a target language should be like.

E.g.7小石头：嗬，够横的你。

Shitou: You are really something.

“横” in Beijing dialect means harsh and unreasonable, "Be (quite or really) something" is an informal expression referring to a person or a thing is of consequence. In the above example, the replacement of “横” by "be really something" shows that Shitou is impressed by Douzi's arrogance and reveals Shitou's generous nature. Although his kindness to offer a sleep place to Douzi is unappreciated, Shitou does not say something harsh. If it is translated into "You're unreasonable", it would be too straightforward.

2.3.2.3 Generalization

Generalization is defined as the type of modulation in which the dissimilarity between source text and target text transemes is characterized by a shift towards greater generality in target text; as such it contrasts with the opposite phenomenon of specification. Generalization is acceptable if target text has no suitable alternative, or if the omited detail may be gleaned from the target text context or is just not important.

E.g.1不罚，不罚你永远是下三滥。

还想成角？做梦。

And if I don't punish you, you'll always be third-rate.

You want to be a great actor? Dream on!

“下三滥” is a traditional Chinese expression that describes some impuissant and footling people in the lower class status in China. To avoid misunderstanding of it, Linda just translates it as "the third rate", simply and concisely. As for “角”, it's a technical term specially used in dramatic performance referring to leading roles in dramas. But “成角” here means becoming a famous actor or actress. Linda's translation retains the most important and essential meaning.

E.g.2依我看，只要是唱西皮二黄，它就是京戏。

I say if it uses the traditional forms, then it’s the Beijing Opera.

"Xipi Erhuang" is a professional term in drama. "Xipi" and "Erhuang" refer to two different vocal cavities respectively. Xipi originated from Qin opera. Its singing is lively and high pitched, generally being used to express cheerful and excited feelings. Erhuang comes from Anhui. The tone of Erhuang is more stable and serious. In the development of drama, Xipi and Erhuang went through a process of slow integration. If the translator transliterates the tones of "Xipi" and "Erhuang" respectively in the subtitles, on the one hand, the audience without the knowledge of Peking Opera can not understand it completely; on the other hand, the subtitles have space limitations, and the letter translation should not be too long. Here, Linda generally translates it as "the traditional forms" to give the audience an abstract understanding.

E.g.3反正这两杯子也沾上了四旧了

Anyway, jade cups were part of the old society

With abundant political background, on August 8th, 1966, as the film mentioned “in the era of Communist revolution, the on-going Great Proletarian Cultural Revolution will be a revolution that reconstructs people’s mind”. "四旧" as a derogatory word, refers to the collective name and general designation of old ideas, including old culture, old customs and old habits. For a time, streets, factories, communes, time-honored stores and schools were changed into revolutionary names such as "Anti-road Construction", "Dongfeng Store" and "Red Guard War School" , destroying the authority of "bourgeois reactionary academic authorities" such as scholars, writers, artists and scientists. Violence became commonly seen in the streets. Instead of illustrating what is “四旧”, Linda chose “old society” to generally express the real social situation at that time, almost everything should be put out the label of “old, bad” to be accused and criticized.

E.g.4尘世中，男子阳污，女子阴秽

There is foulness in both men and women.

This sentence comes from the mouth of Mr Yuan, a drama addict. The word "尘世" is unique to Chinese. It is used by Buddhists or Taoists to refer to the world, with a deep religious color. However, the main religious belief in western countries is Christianity, and "尘世" has no corresponding word in English. In this sentence, Linda translated the sentence into existential sentence, which is a good way to generalize the meaning of the word. In fact, this sentence means that in the eyes of people who believe in Buddhism or Taoism, men and women on earth are all dirty. If the translator rigidly corresponds "阳污" to "man" and "阴秽" to "woman", the translation will only overlap meaning, resulting the translation not authentic.

E.g.5来给师哥勾勾脸

Will you give me a hand with my make up?

The facial makeup in Peking Opera is a special makeup method. The traditional facial makeup mainly refers to clean facial painting. "勾脸" is one of its painting techniques. In order to let the audience clearly understand the meaning of dialogue, it is literally and generally translated as "make up".

2.3.2.4 Specification

Specification is distinguished from the other type, generalization, in that here the shift which occurs between source text and target text in the direction of a higher level of explicitness. In other words, a shift towards greater specification will produce a transeme the meaning of which is made more precisely, by either the addition of extra words or the use of words with a less general meaning.

E.g.1别介，都是下九流谁嫌弃谁啊

Don’t be foolish. Prostitutes and actors are equally despised by society.

The mother (prostitute) of the little boy (Cheng Dieyi) took him to the troupe and hoped that the master would accept him. After seeing the little boy's sixth finger, the master said he had no gift to sing. So the mother knelt down (sexually) and hinted that the master would benefit as long as he accepted the disciple. So the master said this sentence. There is a saying of "三教九流" in ancient China. The three religions here refer to Confucianism, Taoism and Buddhism. The nine religions are divided into upper, middle and lower levels. The translator does not directly translate the "inferior" but translates the contents of the reference, which not only makes the meaning more thorough, but also does not increase the viewing obstacles of the audience.

E.g.2小爷我今儿练的是九转金炉的火丹功。

I have been practicing Kungfu to keep myself warm.

When dealing with those terms with strong cultural meanings, it's proper and wise to conclude some specific tiny terms into a general broader concept. As a result, the translator can save efforts; the audiences can get the general meaning without being entangled in those unimportant tiny details. Kungfu in the translated text, though fails to express the original Taoist cultural meanings, it really saves much screen space and viewing time, thus, it's easier for foreign audiences to understand.

2.3.2.5 Omission

Being opposed to "addition", omission means that some words in the original text do not need to be translated, because although there are no specific words in the translation, potential meaning has been shown. In other words, omission is to delete some unnecessary words, or words that are cumbersome or contrary to the language habits of the translation. But omission does not delete any ideological content of the original text.

E.g.1各位爷都站好甭动。真钱买真货。我小石头今儿个玩儿真的,让爷儿们都开开眼。

I'll give you something to look at.

This scene describes Little Stone and his partners was performing in the street to earn money, but no one gives a reward. In order to attract the audience, Little Stone decided to perform a wonderful show. He decided to hit his head with a brick, so he said the above lines. Because the morpheme of the actor is fast, the picture switches to that he hits his head with a brick as soon as the voice falls, so the translator uses a short sentence to express it. This not only does not affect the audience's viewing of the wonderful picture, but also completely expresses the semantics.

E.g.2他这一亮相,那台底下听戏的人不都吓跑了。

He would scare off the audience

This line is what Master Guan said to Little Bean's mother when he found an extra finger on Little Bean's right hand. While speaking this line, Master Guan stretched out his right hand and made an appearance of being on the stage. Therefore, if the translation of "his appearance" is omitted, this meaningless information vocabulary can be deleted naturally, which does not affect the audience's understanding of the plot at that time, also does not deviate from the meaning of the original lines, and will not cause the audience's confusion. It is a good way to accurately convey the information and let the audience understand the content of the film.

E.g.3陈:唉，袁四爷今儿个来看戏

段:没见我盖着唢呐唱吗？把血都挣出来了

Chen: So, Master Yuan has come to see us tonight.

Duan: I know. I sang so loudly I drowned out the horns.

“今儿个” is a typical time indicator in Beijing dialect. It usually refers to "today". In view of the context, it can also be translated as "tonight". In translating Duan's response, the translator tries to relay its meaning than to represent its form. She omits “把血都挣出来了”，also a typical dialectal expression, which literally means "drive the blood out" and "do very hard" in the real sense. "I sang so loudly" is added to facilitate understanding. The translator also makes efforts to find the most understandable way from the target culture.

===Conclusion ===
3.1 The Conclusion

In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. The translator, the recreator of dialogues in the process of translation, should choose the most appropriate translation strategy to reconstruct the meaning of the original text. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

3.2 Advice

Due to the cultural differences behind translation, some films cannot achieve the same effect abroad as at home. It is true that the two important purposes of subtitle translation are to provide the audience with plot information and to convey the cultural connotation contained in the film. Plot information is the premise of cultural connotation. If the audience of target language cannot understand the plot, it is difficult to achieve cultural communication. Therefore, in the face of handling with culture-loaded words in subtitles, the translator should focus on the purpose of information, put letting the audience understand the film content above everything else, and then give consideration to the cultural purpose.

The subtitle translation in Farewell my concubine mainly adopts the domestication strategy rather than foreignization. Truly speaking, foreignization can retain the cultural characteristics of the original language in translation, making the readers of the target language feel the exotic customs and the unique charm of the source culture. Foreignization could be taken as a means of resistance to the cultural colonial policy of the strong culture, break its "domestication" and strive for winning a place for the weak culture in the forest of global culture. Therefore, there is still a long way for Chinese translators to spread Chinese culture to the countries abroad.

===References ===
Xiao Xiang. The Transmission of Peking Opera Culture in the English Subtitle Translation of Farewell, My Concubine[J]. Frontiers in Educational Research, 2020, 3.0(13.0)

Nan Wan. Subtitling and its Acceptability in the Film Farewell, My Concubine: A Multimodal Approach[J]. Advances in Language and Literary Studies, 2019, 10(6) : 94.

Zhang Kaijuan张凯娟. 电影字幕翻译中的语域对等研究[D].西南大学,2019.

[4]徐敏. 电影《霸王别姬》的汉英影视字幕翻译评析[D].浙江工商大学,2014.

[5]金海娜.从《霸王别姬》到《一代宗师》———电影译者Linda Jaivin访谈录［J］.中国翻译，2013，34（04）.

[6]杜阿晴.目的论视角下电影字幕中文化负载词的翻译——以电影《霸王别姬》《风月》为例[J].福建教育学院学报,2013,14(04):94-97.

=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =
[[Cult_Load_Words_EN_2]]

谢庆琳 Xie Qinglin, Hunan Normal University, China

=== Abstract ===

Language is a product of culture, an integral part of it and a condition of its existence, and an important factor in the formation of cultural codes. Since the 21st century, linguistics has actively studied a direction that sees language as a code for understanding the culture of a nation, not just as a tool for communication and cognition. As we all know, there are certain cultural differences among various ethnic groups influenced by factors such as geographical environment, political system, religious beliefs, living habits, moral values and aesthetic interests. These factors together contribute to the creation of culture-loaded words. The translation of culture-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture while faithfully conveying the essence and soul of the translated culture to the readers of the translated language to truly communicate with different cultures. The translation of culture-loaded words directly affects the understanding of readers of the translated work, and also influences the readability and literary quality of the work. The study of Chinese translation of Russian culture-loaded words from the perspective of cultural load words not only promotes the communication between Chinese and Russian languages, but also deepens the cultural understanding between Chinese and Russian people.

=== Key Words ===
Russian Culture-loaded Words; Translation Principles; Translation Strategies

=== 题目分析俄语文化负载词的中文翻译 ===

=== 摘要 ===

语言是文化的产物，是文化的组成部分和存在条件，也是文化密码形成的一个重要因素。 21世纪以来，语言学积极研究一个方向，即把语言看作是了解一个民族文化的密码，而不仅仅是一个交流和认知的工具。众所周知，各民族受地理环境、政治制度、宗教信仰、生活习惯、道德价值、审美情趣等因素影响，其间存在一定的文化差异。这些因素共同促使了文化负载词的产生。文化负载词的翻译要求译者准确恰当地理解异国文化中的信仰、习俗、审美及价值观等的同时，忠实地将译语文化的精髓与灵魂传递到译语读者面前，真正做到不同文化的交流。对文化负载词的翻译会直接影响译文读者对作品的理解，也影响着作品的可读性及文学性。从文化负载词的角度来研究俄语文化负载词的中译不仅推动中俄两国语言的沟通，同时对加深中俄人民之间的文化理解也具有重要意义。

=== 关键词 ===
俄语文化负载词；翻译原则；翻译策略

=== Introduction ===

After the 1970s, cultural factors were gradually incorporated into the scope of linguists' studies, and cultural studies became a topic of common concern for linguists and translators. Susan Bassnett (1990), the core representative of the cultural translation concept, believes that translation is an exchange between cultures, and the reciprocity of translation should not only realize the reciprocity of language forms, but also pursue the reciprocity of cultural functions between the original text and the translated text. Therefore, translation is not only an act of purely linguistic conversion, but also a reflection of the cultural meaning of language. Language is a means of communication of human thoughts and feelings, and it is both a carrier and an important part of culture. In the process of historical development, countries around the world have formed large or small cultural differences due to different geographical environments, political rule, religious beliefs, traditional customs, lifestyles, value orientations and aesthetic interests. These factors have together contributed to the creation of a large number of cultural-loaded words. Each language has its own cultural vocabulary with cultural color and connotation, and these words reflect the cultural values of each nation. Because they are loaded with special national cultural connotations, cultural-loaded words often constitute the focus and difficulty of translation as an act of intercultural communication, and even become a barrier to the transmission of information.

Guided by American translator and translation theorist Eugene Nida's theory of functional equivalence, this paper takes the Russian as an example to explore the cultural information carried by the cultural-loaded words in its subtitles and summarize its translation method. The translation of cultural-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture, while faithfully transmitting the essence and soul of the translated culture to the readers of the translated language, so as to truly communicate with different cultures. The study of Chinese subtitles of Russian TV series from the perspective of cultural-load words not only promotes the communication between Chinese and Russian languages, but also has great significance in deepening the cultural understanding between Chinese and Russian people.

The paper consists of an introduction, three chapters and concluding remarks. The introductory part firstly describes the feasibility, theoretical significance and practical significance of this research, and then clarifies the novelty of this research. The first chapter briefly outlines the concept of cultural-loaded words, and classifies cultural-loaded words according to Eugene Nida's functional equivalence theory, laying the foundation for the translation study of cultural-loaded words later on. Chapter 2 analyzes in detail the cultural-loaded words appearing in “Intern”, and discusses the translation principles and translation strategies of cultural-loaded words. The third chapter analyzes the causes of mistranslation and difficult-to-understand cultural-loaded words in “Intern”. The concluding remarks summarize the content of the whole text.

=== Culture-loaded Words ===

==== Definition of Culture-loaded Words ====

Culture-loaded words are also called culturally connotative words. In the language system, culture-loaded words are the vocabulary which can best embody the cultural information that a language carries and they also reflect the social life.

Behind each vocabulary are deeply imprinted the cultural, geographical and historical characteristics of a society. Vocabulary is the basic element of language,and the formation of each vocabulary is inseparable from culture. It carries a largeamount of "national cultural accumulation", that is, cultural connotation. This article is an analysis of Russian cultural-loaded words, reflecting mostly about the Russian national culture.

Language is the carrier of culture, so cultural differences must also be reflected in language. Translation means the spread of culture, and words that carry culture are words that express culture. Therefore, the translator focuses on the cultural-loaded words that appear in the source text, and on this basis. The words containing language and culture reflect the development, progress and change of the language of a country's dynasties, as well as the accumulation of various activities that are completely different from other countries (Liao, 2002). Translating social cultural terms and ecological cultural terms can truly understand the living conditions and social conditions of a country in a specific period.

==== Classification of Culture-loaded Words ====

According to Naida's classification of cultural factors, cultural load words are divided into five categories: the first category is ecological cultural load words, which usually refer to words related to plants, animals, climate, etc. of a specific region, for example, a small twisting path is not used in the Russian language environment, such as “羊肠小径”. The second category is material cultural load words. For example, “轿子” refers to a human-powered means of transportation in feudal China, which does not exist in Western countries. The third category is the social cultural load words, which usually involve words of social etiquette, social identity and leisure, such as kneel three times and kowtow nine, the dragon boat festiva, which are unique to Chinese culture and tradition. The fourth category is religious cultural load words, which are generally words reflecting the cultural beliefs of a certain nationality, such as “八字”(horoscopes), “算命先生”(fortune-teller), and so on. The fifth category is language-based cultural load words, which reflect the different ways of speaking and habits of different ethnic groups in terms of phonetics, vocabulary, syntax and so on. For example, the name of a person, the use of idioms, and so on.

=== Translation Principles and Strategies of Russian Culture-loaded Words ===

==== Translation Principles of Russian Culture-loaded Words ====

===== The Principle of Faithfulness to the Original Text =====

Fidelity to the original text is one of the most basic principles and standards of translation. When translating cultural-loaded words, two points should be clear: on the one hand, we can not add some cultural meanings in the translation process based on our own conjecture. On the one hand, it is not possible to attach some cultural meanings to the translation process that are not intended by the author of the original text. For example, the Russian word for rabbit (заяц) has a negative cultural symbolism and is considered to be a symbol of evil and cowardice, while
In the passage of «Судьба Человека»: "… а я уже на ничьей земле между воронками петляю не хуже зайца" (李世俊，张永全等: 1999), a soldier tells how he bravely and wisely crossed the German lines. The rabbit is used here only to borrow the positive image of its quick and dexterous movements, not the cultural symbolism described above.
If we do not take into account the author's real intention and turn it into "no less than a timid rabbit", we are not being faithful to the original text, but rather making a faux pas. Therefore, this sentence
should be translated as "I have reached the middle of the field, and I am not less dexterous than a rabbit in going around in the middle of the crater."

On the other hand, it is important to translate the cultural meaning of the culturally loaded words that are crucial or important to the understanding of the text, as it is easy to misunderstand if only the surface meaning is translated. For example, “сушить сухарь” literally means toast a thousand, but in fact it means to prepare dry food for exile on the road, and now it often refers to eating lawsuits. If there is a scene in Chinese literature where the crane is used to celebrate a long life, it must be translated into Russian with the meaning of longevity in Chinese culture, otherwise the Russians will find it inexplicable.

===== Contextual Principal =====

The meaning of words is often multi-layered and multi-faceted, and translators should judge the meaning of specific words according to the context. Therefore, context is the key to determining the true meaning of a word in a specific context and to help the translator correctly translate the original text.

The following are three situations to determine the specific meaning: (1) Words that often have cultural meaning and represent cultural images may not have culturally loaded meaning in a certain context. (2) The same culturally loaded word may have a different cultural meaning in a specific context. For example, the Russian word “ медведь” sometimes means "powerful" and sometimes means "heavy". Sometimes it refers to the strength of the bear, sometimes it refers to the stupidity of the bear, and sometimes it also refers to the maidenhead. Therefore, it is more important to determine the exact meaning according to the context when translating. (3) Common words may become cultural-loaded in specific contexts. (3) Common words may become cultural-loaded words in specific contexts.

===== Principle of Appropriateness of Explicit and Implicit =====

The cultural-loaded word serves the text with its cultural meaning, so the translation should be either explicit or implicit according to the needs of the text, to keep the text simple and fluent. For example, due to the limitation of space or style
For example, in Russian,“кричать во всю Ивановскую” literally means "shouting at Ivan Square" because in the Tsarist era, decrees and orders were issued on Ivan Square, and people often had to shout to hear them. Therefore, it is not necessary to turn out the meaning of the cultural load when translating into foreign languages, and it can be directly translated as shouting. However, if the translator intends to introduce this historical and cultural phenomenon, it is a different story. In short, the translation of cultural-loaded words should serve the whole text, and be consistent with the context and the author's style, and the translator's purpose.

==== Translation Strategies of Russian Culture-loaded Words ====

Translation principles are macro requirements for the translation process, while in the actual translation process, in order to achieve good translation, in addition to following these principles, we must also adopt necessary translation strategies according to the specific characteristics of the vocabulary. The complexity and specificity of cultural factors determine the variability of the meaning and form of culturally loaded terms, as well as the flexibility and adaptability of their translation means. Generally speaking, in order to achieve good translation effect, translators often use such translation strategies as "direct translation (phonetic translation) plus annotation", "direct translation with free translation" and "free translation" for cultural-loaded words and so on.

====== Direct Translation (Phonetic Translation) plus Annotation ======

The direct translation mainly refers to the translation that retains the original language form completely, so that it is similar to the original text. The method of translation is similar to the original text and has the same structure. Since this method mainly focuses on the linguistic form of the original text, sometimes the translation cannot fully and accurately express the original text.Sometimes the translation cannot fully express the original language accurately, then the translator can adopt the method of adding. In this case, the translator can adopt the method of adding notes to offset the loss of meaning brought by this translation strategy. Cultural-loaded words contain a large number of national-specific words, such as various proper nouns, historical allusions and these words have no direct counterparts in the translated language. Therefore, it is often necessary to translate them by the strategy of phonetic translation with annotation. For example, many literary works use phonetic translation of the Russian national costume “сарафан”, which is translated as "Sarah
A" with a note stating that the sarafan is a traditional Russian folk dress without sleeves.

====== Direct Translation with Free Translation ======

Direct translation with paraphrase is a translation method that combines direct translation and translation with meaning, which not only translates the surface meaning of the original text word by word, but also translates the potential meaning beyond the surface meaning of the original text. The direct translation is a method of translating not only the surface meaning of the original text word by word, but also the potential meaning beyond the surface meaning. For the translation of cultural-loaded words, the combination of direct translation and literal translation can better reveal their true meanings in terms of both form and content. The Russian word "колосс на глиняных ногах" from the «Old Testament»It is about the dream of Nebuchadnezzar, the king of Babylon, who saw a giant statue of a terrible shape, whose feet were half clay and half iron, and the whole statue collapsed due to a stone that happened to hit his feet from the mountain. This dream symbolized the doomed kingdom of Nebuchadnezzar. Thus, the cultural meaning of "giant with feet of clay" refers to a country that is outwardly strong but actually weak and destined to perish. Thus, Lenin said in his speech on November 7, 1919, at the conference commemorating the second anniversary of the October Revolution: "Мы видим, что империализм, который казался таким непреодолимым колосом, казался на глазах у всех колоссом на глиняных ногах." (刘永红：2002) The whole sentence should be translated as "We see that imperialism, which looks like a giant that cannot be served, is actually a giant in the mud with a strong exterior in the eyes of everyone.

===== Free Translation =====

The free translation strategy emphasizes the meaning conveyed to the original language words in specific contexts. The first thing is to translate the meaning of the original, not necessarily to preserve the original form, not to achieve the same literal and structural translation as the original. The translation is suitable for the translation of the cultural load words whose cultural meaning does not play a major role in the original text, or the cultural load words whose cultural image is too remote, sometimes also subject to the limitations of the manuscript and style and use this method, a cultural load words, such as culturally significant sayings, proverbs, because for a long time Ba Jing has a conventional translation of foreign, so in the translation can also be used when the original translation method. For example, "китайская грамота" literally means "Chinese word", "Chinese character", but because of the big difference between Russian and Chinese, it is very difficult for Russians to understand Chinese characters, so here it is translated as "heavenly book, incomprehensible, inexplicable thing". “Для него это китайская грамота” translates as "He doesn't know anything about it".

=== The Translation Difficulties of Russian Culture-loaded Words ===

==== Translatability of Culture-loaded Words in Russian ====

Language is the most important tool for human communication and one of the important carriers of information. The cultural characteristics of a nation's way of thinking, concepts, and systems are bound to leave their mark on language. Vocabulary is one of the most active dimensions of language. Changes in social life, the development of national culture and other changes can be recorded through vocabulary. Culture-loaded words are those words, phrases and idioms that mark things specific to a certain culture, and these words reflect the unique way of activity of a particular people that has gradually accumulated over a long historical process and is distinct from other peoples. Although translation is a transformation of symbols in its manifestation, in its essence it is a cultural exchange activity. The difficulty of translation is not the language itself, but how to convey the cultural content of the original language. The Russian cultural load is an important external expression of Russian culture, which is difficult to find in other national languages, but this does not mean that the cultural load is untranslatable. Firstly, although the differences between languages of different nationalities are determined by their respective nationalities, the similarity of human living conditions and physiological structure determines the similarity of human thinking patterns, therefore, different nationalities have similarities in understanding and understanding things; secondly, translation activities have a long history, and there are numerous cases of translators overcoming cultural gaps and achieving successful translations in the rich translation practice, therefore, the translatability of culture- loaded words is proven by a large number of translation practices. Thus, translators can still use their dynamism in a limited space to preserve and convey the cultural elements contained in the culture-loaded words in Russian.

==== Factors Affecting the Translation of Culture-loaded Words in Russian ====

The first is the internal factor, i.e., the internal factor of language. In his book «Language and Translation», Balhudarov divides the translation unit into six levels: phonemic level, grapheme level, word level, phrase level, sentence level, and discourse level, in an effort to make the original text and the translated text equivalent. After the 1980s, translation research has taken a new direction - the cultural theory of translation, and Susan Basnett, as one of the representatives of this school, believes that translation should take culture as the basic unit of translation, instead of resting on the previous parts of speech. The original text is the most real and objective existence in translation, and the characteristics of the translation object itself will also affect the translation, and the culture-loaded words have the characteristics of ethnicity, implication and unaccustomedness. When translating culture-loaded words, translators often encounter two bottlenecks: first, the lack of corresponding vocabulary; second, the lack of equivalent cultural meaning, that is, the same word in different cultural contexts expresses different connotations. In ancient Chinese philosophy, it is important to "look at things and take images", and under the influence of traditional Chinese thinking, Chinese tends to use concrete words to express imaginary concepts. The abstract content is expressed by the concrete image. Take the word "jianghu" as an example. "Jianghu" is another new word with changed connotation and extension, which is composed of the concepts of "river" and "lake". The word "jianghu" lacks its semantic and formal equivalents in Russian, so translators need to adopt a flexible translation approach to interpret the semantic and cultural connotations of the word "jianghu".

Second, external factors, including the translator's own body and the purpose of translation, etc. The translator is the most active factor in the translation activity, and is the doer of the whole translation activity, which must be completed by the translator. There is no shortage of excellent translators in China, most of them are concentrated in the field of English studies. Unlike the English translations of Chinese literary and artistic works, the translators of both film and television dramas and Chinese literary and theoretical works are mostly Russians. Unlike the Chinese translators' approach to Chinese culture, foreign translators, when translating, unlike the Chinese translators' approach to Chinese culture, foreign translators may have less sense of mission and enthusiasm for spreading Chinese culture when they translate from Chinese to foreign languages, and they pay more attention to the reading norms and market acceptance of contemporary readers, so they tend to adopt translation strategies such as paraphrasing and naturalizing to facilitate the understanding of readers of the translated language.

=== Conclusion ===

There is a growing awareness that language is just an international communication tool
and is not restricted to a particular country or nation but as a neutral information medium. This paper analyzed the definition and claasification of culture-loaded words. Then we disscussed the translation principles and strategies of Russian culture-loaded words. Last it discussed the difficulties in the translation of these words, and makes a conclusion that we should use the combination of literal translation and free translation in the translation according to different circumstances.

Translation is a language communicative activity; there are a lot of words with Russian cultural features, so we cannot find the equivalent words to express the same cultural information in the target language. When translating these cultural-loaded words, it needs the help of alienation principles, achieving the conversion between language and cultural information. However, after all, the reader's understanding of Russian culture is limited, so the translator must follow the rules of Russian language and expression, taking the text type, translation factors such as purpose and audience into consideration to acquire the best translation.

To sum up, language, culture and translation are inseparable. Language is also a cultural phenomenon, while culture shapes language. Translation is a tool for exchanging different cultures and human civilizations, and therefore they are closely related. In the process of intercultural communication and translation, culturally loaded words are the main obstacle, but they reveal the cultural characteristics and social customs of a people. Accurate and faithful translation of culture-loaded words plays a crucial role in facilitating cultural exchange. Direct translation and paraphrasing are effective translation strategies to solve the problem of culture-loaded words. Direct translation can help the target language readers understand the translation more easily. It aims to make the target language readers and the source language readers empathize. However, free translation is intended to preserve the cultural style of the source language for the readers. These two approaches may seem to be opposing, but they actually complement each other. It is impossible for a translator to use one translation strategy to complete the translation task, so in translation practice as a translator, he or she should try to make a comprehensive use of the two translation methods to make the translation more relevant and evocative.

=== References ===

Barkhudarov L. S. Language and translation. (1975) Questions of the general and private theory of translation[M]. Moscow: International relations.

Kozhin A. N. (1982) Functional types of Russian speech. [M]. Moscow: Vysshaya shkola.

Rosenthal D.E. (1987) Practical stylistics of Russian language. [M]. Moscow: Vyssnaya shkola.

Fedorov A. V. (2002) Fundamentals of the general theory of translation. [M]. Moscow: High School.

Yuriev A. N. (2005) Types and styles of speech. [M]. Moscow: Almaty.

Chen Guoting 陈国亭 (2012). 俄汉语通用最简翻译指南 [M]. A general minimalist translation guide for Russian and Chinese. 哈尔滨：哈尔滨工业大学出版社 Harbin: Harbin Institute of Technology Press.

Cai Yi et al 蔡毅等 (2006). 俄译汉教程增修本[M]. Russian to Chinese Translation Course Supplement. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.

Huang Ying 黄颖 (2008). 新编俄语语法 [M]. New Russian Grammar. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Publishing House.

=3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =

功能主义目的论视角下加里斯奈德对寒山诗的英译研究

罗曦 Luo Xi, Hunan Normal University, China

[[Cult_Load_Words_EN_3]]

=4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong 《九章》许渊冲译本文化负载词的翻译=
[[Cult_Load_Words_EN_4]]

=5 孙雅诗 Study on the translation of culture loaded words under the ecological translation theory——Take the English translation of Dou E Yuan as an example 生态翻译学视域下文化负载词翻译研究——以《窦娥冤》英译本为例 =
[[Cult_Load_Words_EN_5]]

=6 杜莉娜 On the English Translation of Culture-loaded Words in Chinese Tourism Texts from the Perspective of Intercultural Communication—Exemplified by Zhangjiajie=

'''跨文化交际视角下旅游文本中文化负载词的英译研究--以张家界为例'''

杜莉娜 Du Lina, Hunan Normal University, China

[[Cult_Load_Words_EN_6]]

=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =
俄语成语中文化负载词的中文翻译分析

宫博雅 Gong Boya, Hunan Normal University, China

[[Cult_Load_Words_EN_7]]

=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =
[[Cult_Load_Words_EN_8]]

=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =
[[Cult_Load_Words_EN_9]]

=10 丁旋 Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =

[[Cult_Load_Words_EN_10]]

=11 高蜜On the Translation of Culture-loaded Words in ''Lao Can You Ji'' from the Perspective of Cultural Schema Theory 从文化图式理论看《老残游记》中文化负载词的英译=
[[Cult_Load_Words_EN_11]]

=12 殷慧珍 A study on the English Translation of Culture-loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies =

殷慧珍 Yin Huizhen, Hunan Normal University, China

[[Cult_Load_Words_EN_12]]

===Abstract===
Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay classifies culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay analyzes the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and summarizes the translation of culture-loaded words based on domestication and foreignization strategies.

===Key Words===
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen

===题目===
归化异化策略下方华文《春节》中文化负载词的英译研究

===摘要===
文化负载词是指具有独特文化内涵的词语，是促进文化交流的强有力工具。由于东西方文化背景的巨大差异，文化负载词的翻译是一项艰巨的任务。因此，本文以方华文散文《春节》中的中国文化负载词的英译为研究对象，介绍了许多词汇关于中国习俗活动里蕴含的中国文化负载词。根据奈达的文化分类，本文将文化负载词分为生态文化负载词、物质文化负载词、社会文化负载词、宗教文化负载词和语言文化负载词。本文以韦努蒂提出的归化和异化翻译策略为基础，分析方华文的散文《春节》中文化负载词的翻译策略，总结出基于归化和异化策略的文化负载词翻译方法。

===关键词===
文化负载词《春节》归化与异化翻译策略方华文

===Introduction===
Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures and the main task of translation is to translate the content of the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of the Chinese nation, such as some idioms, sayings and idiomatic expressions, are difficult to translate. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing research. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of the activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand the profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.

===Fang Huawen and ''The Spring Festival''===
Fang Huawen was born in 1955, who is a famous Chinese literary translator and translation theorist. He plays an important role in literary translation in China and he was elected as a representative in the field of literary translation in China. He has translated many literary works such as ''Oliver Twist'' and ''David Copperfield'' written by Charles Dickens, ''Tess of the d'Urbervilles'' and ''Jude the Obscure'' written by Thomas Hardy, ''Jane Eyre'' and ''Pride and Prejudice'' written by Jane Austen and so on. Also, he wrote books of Chinese Culture of Editions Series such as ''Chinese Garden'', ''Chinese Folk Customs'', ''Famous Historical Cities in China'' and so on, which introduce Chinese culture in all areas. His representative translated work is ''History of Chinese Translation in the 20th Century'', which elaborately introduces the Chinsese Translation theories and translators, covering more than ten million words. His translated works have made great contributions to the spread of Chinese culture, and his translation views are well known both at home and abroad. He was named "the most productive literary translator in contemporary China” by the UNESCO International Federation of Translators and his translation theories were publish in ''Babel'', the academic journal of the International Federation of Translators, which enabled the world to know the general situation of Translation in China and the characteristics of translation.

In this essay, ''The Spring Festival'' is selected as the text of analysis, which is one of the prose collected in the book ''Translation and Appreciation of Chinese and Foreign Selected Famous Proses and Poems'', whose author is also Fang Huawen, selecting and translating famous Chinese and foreign proses and poetry. ''The Spring Festival'' is written by Fang Huawen and he selcets his own translation version in the book. The prose introduces the Spring Festival, the most important traditional festival of the China. The prose introduces the customs and activities of the Spring Festival in detail, which have been passed down from the ancient time. With the changes of the time, the words and customs have their own distinctiveness. Taking the traditional activity “post picture” as an example in the essay, Chinese people posted pictures of Shen Shu and Yu Lu with the wish of getting good luck and happiness in Nan Dynasty. While in Tang Dynasty, they posted the photos of Qin Shubao and Yuchi Jingde. If you don't know the cultural background of Chinese culture, you can hardly know the connotaion of the words. For example, the names of firecrackers are of various kinds, like "Rockets", "Rolling Mines", "Fairy Scattering Flowers", "Knights in Red" and so on. The author elaborately introduces all kinds of customs and activities from the first day of the first lunar month to the 15th day of the first lunar month, among which culture-loaded words are unique to Chinese culture, and the translation of these culture-loaded words will greatly promote the spread of Chinese culture.

===Culture and Culture-loaded Words===

====The Brief Introduction of Culture====
Compared with the economic and political field, culture refers to the spiritual activities of human beings and the products they produce. Culture is a set of customs, traditions and values formed by people living in a specific community over a long period of time, such as the culture of a nation or country. There are various cultures in the world, and each culture has its own characteristics, including its own ethnic values, such as religious belief, world outlook, etc. It also includes spiritual products produced by specific ethnic groups, such as some artistic and scientific spiritual products. Besides, the manners and behaviors of a nation such as folk customs, spirits and so on.

Chinese contemporary writer and scholar Yu Qiuyu gave a detailed interpretation of culture. He gave a definition of culture with a concise and simple sentence in ''What is Culture'', that is, culture is a kind of spiritual value and life style called habit, and its final result is collective personality. (Yu qiuyu 2012:3) The first key word is spiritual value, which means that culture is not only a cultural phenomenon, but also has cultural value. Therefore, it can be explained that culture is a spiritual symbol of human beings compared with the primitive state. The second key word is lifestyle. This is the concrete realization of spiritual value. In most cases, culture, it should be concrete and acessible. The third key word is collective personality. This shows that culture not only affects people, but also concentrates on personality precipitation to maintain some stability.
That is to say, the unique spiritual value and way of life developed by a particular nation is the culture of this nation, such as Confucianism, ancestral hall culture in Chinese culture and so on.

Specifically, Culture covers nearly all kinds of fields in social life. There are many classifications of culture from different perspectives. For example, from the geographical aspect, there are local culture and foreign culture, urban culture and rural culture, Eastern culture and Western culture and so on. Also, from the perspective of time, there are primitive culture, slavery culture, feudal culture, capitalist culture, socialist culture and so on. According to Nida, he divided culture into five categories in his book Language, Cultural and Translation:(1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) language culture. (Nida 1993: 91)

====The Brief Introduction of Culture-loaded Words====
Culture-loaded words refer to the words or phrases carrying the unique cultural connotations of a certain nation, which are different from other nations. Chinese scholar Hu Wenzhong defined culture-loaded words as follows: "Culture-loaded words are words within the scope of a specific culture, and are the direct and indirect reflection of national culture in the language vocabulary" (Hu Wenzhong 1999:64). When these culture-loaded words are translated into the target language, it is not easy to find corresponding words in the target language. Therefore, the wide use of culture-loaded words can transmit national cultural values and promote national communication.

Based on the classification of culture of Nida, culture-loaded words also can be divided into five catergories accordingly. The first is ecological culture-loaded words, which refer to the words that reflect the unique local ecology, such as climate, lgeomorphology, natural environment, mountains, rivers, vegetation and so on. Different geographical environments breed different cultures, such as the Chinese idiom “稳如泰山”, which translates into English as stable as Mount Tai, meaning as firm as a rock, "Mount Tai" is a unique ecological environment in China. Mount Tai is very majestic in the hearts of the Chinese people, and it is worshipped by the people and enjoys a high status. Therefore, people use this idiom to praise people as stable and unshakable as Mount Tai. For English phrase, "a big fish" is literally translated into Chinese “一条大鱼”, but in English culture, it means "Great man", because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.

The second is material culture-loaded words, which refer to words produced in daily life to meet the development of people's material life, that is, words with cultural connotations such as clothing, food and household goods that people need in daily life. In different cultures, people have different associations with different objects. For example, in Chinese culture, since the ancient time, people have divided the universe into five kinds of things, namely are Wood (木), Fire (火), Earth (土), Metal (金), and Water (水), and called them "Wu Xing(五行)"also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena.

The third social culture-loaded words refer to words that reflect various aspects of the society according to different social backgrounds, such as unique festivals, customs, local conditions and practices, as well as the way of address and greeting. For example, "aunt" in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.

The fourth religious culture-loaded words refer to some words related to religious beliefs and concepts, reflecting the influence of religion o.n people's lives. For example, Chinese culture is deeply influenced by Buddhism. Some common sayings contain the influence of Buddhism on people's life, such as the Chinese proverb "菩萨心肠"，which refers to the people with a great kind heart. Cram at the eleventh hour. "菩萨"is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.

The last one language culture-loaded words are the reflection of different languages characteristics in speech, lexical, syntax and other linguistic aspects, usually found in dialogue, ancient poetry and colloquialisms, idioms, and so on. Chinese sentences attach importance to the connection of meaning, and clauses are often connected by meaning, while English sentences are connected by connectives. For example, the famous Chinese proverb,"经得广，知得多"，the whole sentence is very concise, only with six words, and there is no conjunction to connect the sentence. However, the English translation cannot completely translate the format, but need to use a conjunction to connect the sentences in English grammar, that is if you experience more, you can know more things.

===Domestication and Foreignization Strategies===
Domestication and foreignization are two different translation strategies proposed by Venuti in ''The Translator's Invisibility A History of Translation'' from the perspective of culture in 1995. According to Venuti, Domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers.(Shulttleworth , Cowie 1997 : 43~ 44) This was based on the Germanphilosopher Schleiermacher's famous notion of the translation that don’t disturb the reader, as much as possible, and then lead the author towards the meaning that author want to convey. That is to say, using the tanslation strategie of domestication is to localize the translated text. And translator should first consider the target language readers but not the loyalty to the author. Therefore, when translating, the translator should choose the plain and familiar words and expressions in the target language that would not be a barrier to reading for readers, so that the translation can be read nativly and vividly but do not make the readers feel stiff or unfamiliar, and it would not be like a text has been translated but an original book. When translating, he also created many plots that cater to the public’s preferences, making the novel interesting and easy to understand. Because of the cultural differences between the East and the west, some specific words in the source language have no corresponding meanings in the target language. Therefore, especially when translating idioms and allusions, domestication is often used in order to maintain their unique simplicity and expressiveness. For example, cry up wine and sell vinegar(挂羊头卖狗肉)/ live a dog's life(过牛马一样的生活)/seek a hare in hen's nest（缘木求鱼）（Fang Mengzhi 2004: 3）

Foreignization refers to the translation strategy that a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Shulttleworth , Cowie 1997 : 58~ 59) Foreignization refers to the translation strategy that the translator first considers his loyalty to the author and the original text, so the translation will preserve the language characteristics and cultural customs of the original text. The use of foreignization translation strategy will not only make readers have "exotic" reading experience so as to help them better understand cultural differences，at the same time，it also enrich the target language. Many foreign words and expressions have been well integrated into the target language and used in people's daily life. The example of foreignization in Fang Mengzhi's a dictionary of translation studies, such as "time is money", comes from the foreignization of "time is money" in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）

Domestication and foreignization are indispensable translation methods in cross-cultural translation. Domestication can invisibly introduce foreign cultural ideas into the country without causing exotic reading experience or bringing reading barriers to target language readers, thus increasing the readability of the text. However, with the advent of globalization, blindly domesticating other languages is a way of showing ethnocentrism, which is actually a kind of cultural aggression of other country. Venuti believes that the domestication is to use smooth translation strategy to hide the domestication in the transparency of the translation. This is not a cultural exchange but an act of culuture violence under the cover of domestication strategy with ethnocentric ideas, that is, tampering and cultural appropriation. (Fang Mengzhi 2004: 96）Therefore, foreignization has become an increasingly important translation strategy in the process of translation. For culture-loaded words, adopting foreignization translation strategy can not only accurately express the meaning of the sentence, but also promote the spread of Chinese culture, so as to promote the mutual understanding and communication between the East and the West. Therefore, foreignization is gradually accepted by people and more widely used in the world.

===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===
The prose ''The Spring Festival'' contains many traditional Chinese festival culture-loaded words such as poems, idioms, proverb and so on, so in the process of translation, appropriate methods and strategies should be selected. For these Chinese culture-loaded words, the English translation is not completely corresponding to the original text. For example, some Chinese culture-loaded words have Chinese cultural connotations but are not reflected in the translation, and the sentence format in the original text is not completely corresponding in the translation. Based on the classification of culture-loaded words mentioned above, this essay analyzes the ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words in Fang Huawen's ''The Spring Festival'' on the theoretical basis of domestication and foreignization translation strategies.

====Ecological Culture-loaded Words====
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words "火树银花" to describe the scene of the Lantern Festival with bright lights. Literally, "火树" means the fire trees, "银花" means the silver flowers. If the translator uses the foreignization translation strategy to transliterate the sentence, the foreign readers who don't know the Chinese culture may not understand the meaning of the sentence, and will be confused. This is not a tree or flower, but a scene of bright lights. Therefore, the translator adopts the domestication translation strategy and translates it into "fireworks and laterns were everywhere to be seen", "火树" refer to the trees are covered with colorful lights, and "银花" refer to brightly lit scene.

====Material Culture-loaded Words====
Material culture-loaded words refer to some words used for material production, such as medicinal wine, units of weights and measures mentioned in the prose.

Example 1: "爆竹声中一岁除，春风送暖入屠苏。"

Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.

The sentence quoted the famous poem New Year's Day by Song Dynasty poet Wang Anshi, which depicted a lively scene during the Spring Festival. The word "Tusu"(屠苏) has great cultural connotation. "Tusu" is a kind of medicinal wine, called Tusu wine. According to Chinese legend, Tusu wine was first invented by hua Tuo, a famous doctor in the Eastern Han Dynasty. It is generally drunk on the first day of the first month, which plays a role in strengthening the body and defeating diseases. Therefore, drinking it on the first day of the New Year also conveys people's best wishes for the New Year that everyone can stay away from diseases and be healthy. It implied a wish, just as people in the western culture also toast on festivals, so the translator replaced the literal translation of Tusu with the familiar word toasting.

Example 2: 曾架起一座二十丈的灯山。

Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.

In the sentence, "二十丈", that is twenty Zhang. Zhang is a unit of length used in ancient China. The use of Chinese length units has evolved with the changes of history. The units of measurement are closely related to life, they have appeared since the beginning of human beings. The primitive people used fingers as inches, palms as feet, and stretching elbows as feet. Then Qin Shihuang unified the measurement and till now the appearance of modern measurement technology today, the evolution of ancient measurement system reflects the changes of history. In English, there is no length unit of Zhang. Therefore the translator used the domestication translation strategy that converted 20 Zhang into 70 meters.

====Social Culture-loaded Words====
The use of social culture-loaded words reflects the specific social background of the certain period. For example, the appellation or title of people is a significant part of social culture-loaded words. In this prose, the titles of the two ancient emperors "汉武帝" and "唐睿宗" are mentioned. The translator's translation of the ruler is as follows:

Example 1：自从汉武帝以来...。

Ever since the Emperor Wu's Reign of Han Dynasty.

Example 2：唐睿宗时，长安的皇宫外庆贺元宵节

During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.

In Chinese history, from the Han Dynasty to the Sui Dynasty, the posthumous title of the emperor is generally used, which summarized the deeds and morality of the deceased. For example, Emperor Wu of the Han Dynasty, whose posthumous title is "Wu", praised the moral character of Emperor Wu of the Han Dynasty. From the Tang and Song Dynasties to the Yuan Dynasty, the temple name of the emperor was used as the appellation. Temple name is the name given by later generations when they worship in the temple after the death of the ancient emperor. For example, the temple name of the founding emperor is Gaozu or Taizu, such as song Taizu. For the successor, the last word is always Zong, which means to maintain the achievements of the predecessors. For example, Tang Ruizong's temple name is "Rui", which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title "Wu" of Emperor Wu of the Han Dynasty and the temple name "Rui" of Ruizong of the Tang Dynasty. Although the title of emperor is different from that of Di and Zong in Chinese, translator all uses the word emperor.

Example 3: 其外形有"哪吒闹海""孙悟空""猪八戒"和"沙僧"。

Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing.

The words in historical allusions and legends have great social and cultural connotation. "哪吒闹海"is an ancient Chinese legend."孙悟空", "猪八戒" and "沙僧" are main characters in Journey to the West, one of China's four greatest master pieces. Chinese people have watched TV dramas or books about these characters since childhood, so they are familiar with them. However, for foreign readers, they are not familiar with these characters or plots, so it may perplex them if you don't explain the culture background here. The translator adopted the foreignization translation strategy to directly translate "孙悟空" into "Na Zha's adventure in the East Sea", "孙悟空"into the well-known Monkey King, "猪八戒" into Pigsy, and "沙僧" into his name Sha Wujing. Literal translation may confuse readers who do not understand these legends and stories, so notes can be added, that is, Nazha (a divine warrior in Chinese mythology). And Monkey King, Pigsy, Sha Wujing (main characters in Chinese classics pilgrimage to the West).

====Regilious Culture-loaded Words====
Example 1：死后玉皇大帝封他为"斩祟将军"

And was appointed "ghost-killler general" by God of all gods after his death.

In the translation, the translator uses domestication translation theory to translate "玉皇大帝" into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and "玉皇大帝" is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, "玉皇大帝" also governs the affairs of the universe. People regard "玉皇大帝" as the "emperor" in heaven, the supreme ruler of the world of all gods.
In western culture, religions are numerous and varied. Ancient Greece is the land of pantheism, the ancient Greeks advocated many gods. Zeus is regarded as God of all gods and the supreme ruler of the gods in the Greek mythology. Several popular Western religions, such as Christianity, Judaism and Islam are monotheism, holding the belief that God is the only creator of the world. God is conceived of as the Supreme Being and principal object of faith. So the use of domestication can not only express the same meaning of the sentence, but also adapt to the religious culture in the west.

Example 2: 旧岁的最后一天叫"大年三十”，因"除旧岁”而得名除夕。

Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.

The phrase "旧岁”, "岁”is not only refers to the age, but also means year. "旧岁" refers to the past year. The last day of the year, called "岁除", and the night of the day is called "除夕". 除夕, the original meaning of "New Year's Eve", refers to the end of the year to usher in the new. New Year's Eve is a time for family reunion. Like Tomb-sweeping Day, Ghost Festival and the Double Ninth Festival, New Year’s Eve is a traditional Chinese festival for ancestor worship. This sentence uses the combination of domestication and foreignization. The use of foreignization preserves the cultural image and promotes the culture exchange.

====Language Culture-loaded Words====
Chinese idioms usually contain the essence of language and have Chinese characteristics. Many of them use figures of speech such as metaphor. A metaphor is a comparison of something you want to say with something that has similar characteristics. In idioms, metaphors are used to describe the characteristics of something to make it vivid, so as to trigger the association of readers. The idiom in the prose like "像箭一般冲出去了", means that the children rush out quickly, but also shows that the children eager to go outside. In Chinese culture, the arrow(箭) is often used to describe high speed. For example, the idiom "离弦之箭" is used to describe high speed. "离弦之箭" refers to Time flies quikly. But there is no equivalent like arrow in English. In English, words like "bullet" or "cheetah" or "rocket ship" are used for things that are fast. Therefore, in order for readers to better understand the meaning of the sentence, the translator uses the domestication method to paraphrase as "dash out", "dash" is an act of running or moving very quickly or hastily, Although the cultural connotation of the source language is sacrificed in this way, the translator faithfully expresses the meaning of the source language.

===Conclusion===
This essay finds that the prose includes plenty of culture-loaded words, which contains extensive and profound meaning about traditional Chinese culture and customs. This essay introduces the Spring Festival, the most important traditional festival in China, as well as various activities prepared by Chinese people for the Festival and customs they adhere to, which largely spread Chinese culture, promote cultural exchanges in the world, and greatly enhancing the strength of Chinese culture. For this essay, using Fang Huawen's translation text as the analysis object, analyze the translation strategies of translator used about different kinds of culture-loaded words, that is, ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. According to Venuti's translation theory, he advocates that translators should more use foreignization to preserve the cultural connotation of the source language. However, the translator Fang Huawen adopts the domestication translation strategy more frequently, choosing the cultural images familiar to the target language readers in order to resonate with the target language readers and make the target language readers get roughly the same reading effect like the source language readers. At the smae time, culture-loaded words have complex cultural images, if the target language readers do not understand the cultural connotation behind the words, they will not be able to get the real meaning of the text, and may even misunderstand the text mistakenly. When using domestication strategies, translators most commonly use free translation, in which they replace culture-loaded words in the original text with words and expressions more familiar to the target language readers, so as to improve the readability of the translated text and reduce readers' reading barriers. For example he translates the character of Chinese legend "玉皇大帝”into"God of the gods”that are more familiar to the target language readers. However, with the development of globalization, foreignization is increasingly used in translation. When the translator encountered some characteristic culture-loaded words, he chose literal translation, such as "Danianshanshi". Although the translator uses foreignization translation strategy to bring strangeness to the target language readers, it not only retains the traditional image of Chinese culture, but also meets the needs of cultural communication in the world. Foreignization can not only express the meaning of the source language, but also retain the characteristics of the national language. Domestication and foreignization are interactive and not completely opposite. Translators can combine foreignization and domestication in translating culture-loaded words. When translating culture-loaded words, the translator can not only use foreignization translation strategy to retain the cultural image and language connotation of the original text, but also use domestication translation strategy to make the translated text easy to understand and readable.

===References===

Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.

Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.

Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&Newyork:Routledge.

Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese& Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science & Technology Press.

Fang Mengzhi 方梦之(2011). 中国译学大辞典''The Dictionary of Translation Studies in China'' [M]. 上海：上海外语教育出版社 Shanghai: Shanghai Foreign Language Education Press.

Yu Qiuyu 余秋雨(2012). 何谓文化''What is Culture'' [M]. 武汉：长江文艺出版社 Wuhan: Changjiang Literature and Art Press.

Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)

=13 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]
《边城》中文化负载词的翻译—以戴乃迭英译本为例
程杨 Cheng Yang, Hunan Normal University, China

=14 胡舒情浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》为例On Translation Strategies of Culture-loaded Words in Traditional Chinese Medical Classics: A Case Study of ''Treatise on Febrile Caused by Cold''=

胡舒情 Hu Shuqing, Hunan Normal University, China

[[Cult_Load_Words_EN_ 14]]

=== Abstract ===
''Treatise on Febrile Caused by Cold'', written by Zhang Zhongjing in the late Eastern Han Dynasty, is one of the "Four Classics" of Traditional Chinese medicine which uses six channels as guiding principles of syndromes differentiation and treatment. The book concentrates the traditional Chinese medical wisdom, which is both scientific and literary. The writing is smooth and simple, and the language is straightforward and vivid. A large number of rhetorical devices such as reduplication of words are used to reflect the beauty of Classical Chinese. Its multiple values have led more and more scholars to devote themselves to research, study and even translation and promotion, and a number of outstanding scholars have emerged at home and abroad to devote themselves to the translation work of this book. However, it is not easy to translate this book. China has an long history and profound culture, and the book contains many culture-loaded words. The translation quality of such words directly affects the translation quality, so it is necessary to adopt appropriate translation strategies. Therefore, the author chooses the version translated by Professor Luo Xiwen as the research blueprint to study the translation strategies of culture-loaded words in traditional Chinese medicine classics, in order to promote the translation of this book to a higher level.

=== Key Words ===
cultrue-loaded words; Treatise on Febrile Caused by Cold; Tranditional Chinese medicine classics; translation strategies

=== 题目浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》 ===

=== 摘要 ===
《伤寒论》为东汉末年的张仲景所著，是以六经作为辩证论治的纲领，荣列为中医“四大经典”之一。该书浓缩了中国传统医学智慧，兼具科学性与文学性，行文流畅朴素，语言直白形象，其中大量运用叠词等修辞手法，体现了中国文言文之美。其多重价值致使越来越多的学者致力于研究、学习、甚至是翻译推广，国内外皆涌现出一批优秀学者投身该书的翻译工作中。但翻译此书并非易事，中国历史优秀、文化精深，书中包含众多文化负载词，这类词的翻译质量直接影响译文质量，采取合适的翻译策略必不可缺。因此，笔者选择了罗希文教授所翻译的版本，作为中医典籍文化负载词翻译策略的研究蓝本，以期推进该书翻译工作更上一层楼。

=== 关键词 ===
文化负载词，《伤寒论》，中医典籍，翻译策略

===1. Introduction===
In recent years, China's international influence and national soft power have gradually improved, and the country has consciously pushed Chinese culture to all over the world. Traditional Chinese medicine culture, as an indispensable part of the excellent traditional culture of the Chinese nation, has a long history and unique theories and technical methods. Classic materials are rich and humanistic spirit of TCM is amazing, and the external dissemination of traditional Chinese medicine culture is becoming more and more important. Under this background, the translation of traditional Chinese medicine in China has been gradually carried out, and the culture-loaded words in the classics of traditional Chinese medicine are important features that reflect their rich cultural color and humanistic connotation, and the translation of culture-loaded words is the key to the translation of traditional Chinese medicine. Culture-loaded words are parts of the construction of traditional Chinese medicine culture and have basic research value. They cannot be unilaterally regarded as completely untranslatable because of the differences between Chinese and Western cultures. Facing the problems of translation, it is particularly important to put forward feasible translation strategies. A large number of translators of traditional Chinese medicine classics have also emerged in China, facing difficulties and striving to show the world the classics’ cultural accumulation and research results. Among them, the translator Luo Xiwen has translated a series of traditional Chinese medicine classics such as ''Condensed Compendium of Materia Medica'', ''Synopsis of Prescriptions of the Golden Chamber'', ''Huangdi Neijing'', and ''Treatise on Febrile Caused by Cold''. As one of China's historical medical works, ''Treatise on Febrile Caused by Cold'' is a classic work of traditional Chinese medicine written by Zhang Zhongjing in the Eastern Han Dynasty. It plays an important role in the development of medical history in the cultural biography of traditional Chinese medicine. This article will discuss the translation strategies of culture-loaded words in traditional Chinese medicine classics through Luo's translation of Treatise on Febrile Caused by Cold.

===2. TheDefinition and Classification of Culture-loaded Words in Chinese Medical Classics ===
====2.1 The Definition====
Different scholars have different interpretations of culturally loaded words, but a widely accepted definition is that words, phrases and idioms which mark the unique things in a certain culture. These words are deeply imprinted by the region and times of a language society. They only exist in one culture but are blank in another culture.

In recent years, many scholars have begun to pay attention to culture-loaded words in traditional Chinese medicine classics. Some scholars have tried to give a definition of traditional Chinese medicine culture-loaded words, but there is no clear definition yet. However, scholars Zhang Miao and others put forward recognition steps and a selection standard for traditional Chinese medicine culture-loaded words. First of all, read through the text and divide the semantic groups. Secondly, judge whether the semantic group belongs to the shared vocabulary of all human culture, that is, to express one concept of things as a vocabulary in the context of one language and culture, and words that indicate the corresponding concept in another language and culture background. For example, the words "apple", "pear" and "fire" in Chinese express the same concept and corresponding words in English. If it does not belong to part of speech, then determine whether each semantic group belongs to the following three categories. First, the basic terminology of traditional Chinese medicine. Such terms are usually divided into basic theories of traditional Chinese medicine, diagnosis of traditional Chinese medicine, diseases of traditional Chinese medicine, treatment of traditional Chinese medicine, acupuncture and moxibustion, and prescriptions of traditional Chinese medicine. Second, words unique to Chinese material culture, such as unique characters and things. Third, the unique language phenomenon of ancient Chinese. Such as ancient and modern synonymous words, common false words, word polysemy, etc. If it belongs to, and there is no obvious English corresponding word in the above semantic group, it is a culturally loaded word(Zhang Miao, 2020:63-64). According to this method, this paper selects the culture-loaded words in ''Treatise on Febrile Caused by Cold'' in the following article for analysis.

====2.2 The Classification====
After fingding out the culture-loaded words of traditional Chinese medicine, it is often necessary to classify and discuss them. Different scholars have different classification methods. Xu Xueyuan divided the culture-loaded words in ''Huangdi Neijing'' into basic philosophical concepts of traditional Chinese medicine, place names, traditional Chinese medicine terms and organs(Xu Xueyuan, 2018:148-149). Zhang Xuan divided the culture-loaded words in Su Wen into people's names, traditional Chinese medicine terminology, traditional Chinese medicine-related philosophical concepts, and other descriptive cultural load parts of speech(Zhang Xuan, 2009:12-16). Song Conghui and others divided the words of cultural load into: symptoms of traditional Chinese medicine, symptoms of traditional Chinese medicine, etiology and pathogenesis of traditional Chinese medicine, treatment of traditional Chinese medicine, basic philosophy of traditional Chinese medicine, etc(Song Conghui, 2016:121-122). Chen Zinuo and others divide the culture-loaded words of traditional Chinese medicine into five categories: syndrome, symptom, prescription, philosophy and rhetoric(Chen Zinuo, 2021:1698-1700). The latter includes the classification mentioned in the first three, and also opens up a rhetorical class to make the classification more detailed and clear. Therefore, this paper adopts Chen's classification method.

===3. Translation Strategies Used for Culture-loaded Words in ''Treatise on Febrile Caused by Cold''===
====3.1 Translation Strategy of Culture-loaded Words of Syndrome====

The translation of the syndrome affects the readability of the whole translation. ''Treatise on Febrile Caused by Cold'' has been written for a long time, and the simple structure of syndrome name carries a lot of information, so there are few modern terms that can be matched with ancient syndrome names. According to the methods mentioned above, most of the terms of traditional syndrome names belong to culture-loaded words. The author selected the syndrome -type culture-loaded words in Treatise on Febrile Caused by Cold translated by Professor Luo Xiwen to study the translation strategies of these words.

There are several syndromes mentioned in translation of Professor Luo: “太阳病” “阳明病” “少阳病” “太阴病” “少阴病” “厥阴病” “霍乱病” “阴阳易差后劳复病”. Sheng Jie believes that the translation of the syndrome name should be accurate first, then concise, and there is no need to overemphasize formal equivalence(Sheng Jie, 2013:15). When the meaning of the syndrome name has the corresponding words of Western medicine, the literal translation method should be directly used, and when there is no word to use, the method of additional translation can be selected.

Luo mainly adopts transliteration and free translation for syndrome names, first transliteration, followed by free translation, extending the cultural connotation and giving readers a way to deepen understanding. The following analysis can be seen.

“太阳病” appeares in chapter I, and Luo translates it into The Taiyang (Initial Yang) Syndromes. “太阳” does not refer to the celestial body “sun”, but to the Bladder of Foot-Taiyang. The bladder is located in the lower jiao, that is, below the belly button and above the bladder, which contains body fluid, which evaporizes to form "Qi of Taiyang", which is obvious on the body surface. This Qi has the function of protecting the body, also known as "Wei-qi". Because “Wei” meaning defensive, it is also reputed as “defensive Qi”. Because the Qi of Taiyang travels on the surface of human body, when exogenous pathogenic factors invade the human body, Taiyang must bear the brunt, and the syndromes presented as 太阳病. Professor Luo first gives the transliteration form of 太阳病, and then in view of Taiyang syndromes being the first from the law of transmission, Luo also adds “Initial Yang” as an expression of this kind of law of transmission.

“阳明病” appears in Chapter 4, Luo translates it as: The Yangming (Greater Yang) Syndrome. “阳明病” is related to the stomach channel of Foot-Yangming and the Large Intestine Meridian of Hand-Yangming, which means that Yang Qi is so strong that can be observed. Luo uses "Greater" to indicate the prosperity of yang qi to help readers understand the degree of yang.

“少阳病” appears in Chapter 5. Luo translates it as: The Shaoyang (Lesser Yang) Syndrome. Shaoyang is related to Sanjiao Meridian of Shaoyang and Shaoyang Gallbladder Meridian of Foot. It is one of the three Yang, but its ability to stand up to evil is not as good as Tiyang and Yangming, so "Lesser" is used to correspond to "少" in the name.

“太阴病” and “少阴病”, which have similar names with the “太阳病” “少阳病”, just different from Yin and Yang, have similar translations, so there is no need to go into detail. It is worth mentioning that “厥阴病”, Luo translates it as: The Jueyin (Greater Yin) Syndrome. “厥” has the meaning of “extreme”. When the disease or syndrome reaches Jueyin, Yin is extremely cold. Therefore, the degree of Yin embodied with "Greater" is similar to that of Yangming.

“霍乱” appears in Chapter 9, Luo translates it as: Huoluan (Cholera). “霍”, has the meaning of “suddenly” and “haste”, “乱” has the meaning of chaos. “霍乱” is an explosive gastrointestinal disease with vomiting and diarrhea as the main clinical manifestations. Traditional Chinese medicine believes that it is mostly caused by the combination of the six pathogenic factors and unhealthy diets. In Western medicine, Cholera is more likely to be an acute diarrheal infectious disease caused by the intake of food and water which is contaminated by Vibrio cholerae. It is not appropriate to have Cholera's literal translation of “霍乱” in Chinese medicine.

“阴阳易差后劳复病” appears in Chapter 10, Luo translated it as: The Recurrence of Disease and Yin Yang Yi Syndrome. This chapter introduces two parts: one is related to Yin Yang Yi, that is, the differentiation and treatment of Yin Yang Yi syndrome caused by patients with typhoid fever when they are not healed or just recovering, giving way to their carnal desires; the other refers to the differentiation and treatment of recurring diseases resulted from that, at the beginning of recovering from an illness or no recovery, patients start to work. In this chapter, Luo does not add interpretations, but directly arranges the free translation and transliteration in a phrase. The language is concise, easy to be accepted and understood by readers, and achieve the purpose of communication between Chinese and Western medicine. As a matter of fact, observations show that Luo's translation is relatively accurate in grasping the prosperities of syndromes, and tends to use free translation to reflect the characteristics of the progress of syndromes. However, Luo still mainly uses transliteration to convey cultural information about Yin and Yang and other Chinese-specific philosophical characters. This method also has drawbacks, that is, the transmission of cultural connotation depends on the degree of such characters’ propagation and the reader’s cultural level. For some readers who are first exposed to Chinese medicine culture, the transliteration is not friendly, which is not conducive to their reception of Chinese specific cultural information.

====3.2 Translation Strategy of Culture-loaded Words of Symptom====
When describing various syndromes in the book, it also points out the symptoms of the patient who is attacked by those disease. Most of the symptoms are described in detail at the beginning, and Chinese medical books are quite different from Western medical books in terms of the degree of language rigor. About Chinese medicine books, they make good use of rhetoric and pay attention to flowery characters and rhyme beauty, which adds a literary flavor to Chinese medicine, while it also causes the ambiguity and non-standardization of the concept of Chinese medicine, which increases the difficulty of translation as well. Examples are as follows.

Example 1：阳浮者，热自发；阴弱者，汗自出。

Translation：Floating at the surface signifies Heat weak in depth signifies spontaneous perspiration.

This sentence is neatly formed and catchy to read. Luo's translation is roughly the same as the original in form. It is worth noting that Luo translates most of the character "热" which refers to heat symptoms caused by an exopathgen as "Heat" or "pathogenic Heat", and capitalized H to distinguish the "heat" from common heat.

Example 2：鼻鸣干呕

Translation：nauseous and with a tendency to snore

In response to “干呕”, Luo uses the adjective “nauseous” to express "disgusting". In fact, the original text “干呕” is closer to “retching”, which refers to only the sound and action of vomiting, but no food or only salivation. This is not the same as complete nausea. “Nauseous” the word chosen by Luo here does not fit the context of Chinese medicine. “鼻鸣” are sounds made when the breath enters and exits due to suffocation in the nasal passages. It is manifested as thick breathing like a squeak, and snoring is the sound of thick breathing after falling asleep. Luo use the translation of “snore” is rather accurate.

Example 3：不下利，但呕者

Translation：……not cause diarrhea, but rather cause nausea and vomiting

“下利” refers to having the trots in Chinese medicine. The literal translation of "diarrhea" here fits the context. Compared with using the previous term nauseous to indicate “干呕”, Luo treats the character “呕” more carefully, using two words nausea and vomit to expresse together. At the same time, ancient Chinese medical writings in classical style tend to use omissions and emphasize parataxis, while English paying more attention to hypotaxis, Luo uses the word “cause” to make sentences more coherent and clearer.

In summary, it can be seen that the translation of symptoms extremely tests the translator's Chinese and English levels and medical understandings, and a slight difference will lead to deviations in meaning. For such culture loaded words, translators also use more literal translation and omission methods, and less transliteration. But there is also a problem, that is, most of the symptom names in Chinese and Western medicine can not completely point to the same content, and this subtle difference may cause doctors to make mistakes in judgment and cause major accidents. Therefore, the translation of symptoms should be more careful, and comments can be added when necessary to help understand.

====3.3 Translation Strategy of Culture-loaded Words of Prescription====
Treatise on Febrile Caused by Cold is the "ancestor of all prescriptions", which contains many culture loaded words related to prescriptions. Chai Hui has carried out research on the English translation of the prescriptions of Treatise on Febrile Caused by Cold, using the transliteration + literal translation + Latin notation of the "three insurances" translation method for prescription names to ensure that the translation is accurate and comprehensive(Chai Hui, 2010:703-704). Luo's translation mainly uses literal translation for such culturally loaded words. Examples are as follows.

Example 1：芍药

Translation：Radix Paeoniae

The translation of medicinal materials needs to pay attention to the phenomenon of different medicines with the same name. For example, in Zhang Zhongjing's book, there is no distinction between white peony and red peony, but in modern times, white peony and red peony are clearly classified as two kinds of medicinal materials. At present, clinical physicians generally believe that white peony’s function is rather tonic and restorative, while that of red peony refers to ejecting or diarrhea, and two medicinal materials need to be used flexibly according to the condition of the disease. Professor Luo uses Radix Paeoniae to translate it in general, without any distinction or explanation.

Example 2：潦水

Translation：rain water

In Chinese medicine, “潦水” refers to rain water. Luo Zhi literally translated it. “潦水” can be used to decoct herbal medicines whose functions are to nourish spleen and stomach and remove the dampness-heat. In fact, the translator can also explain the reasons for the use of rain water in Chinese medicine after the text, which is more conducive for readers to understand the connotation of Chinese medicine.

Example 3：苦酒汤

Translation：decoction of Bitter Wine (Ku Jiu Tang)

"苦酒汤" in Chinese medicine is actually rice vinegar. Luo translates it as "bitter wine", which means wine with a bitter taste, which is not in line with the original meaning and can be misleading.

Through the above analysis, we can find that the names of the prescriptions and the materials used in the book all have specific cultural connotations of traditional Chinese medicine. There are few corresponding words in Western languages, and even if they do, they are different from the original cultural connotations of the word in the West. We need to adopt appropriate methods in translation, which not only preserves the cultural characteristics of Chinese medicine, but also facilitates the understanding of target readers.

====3.4 Translation Strategy of Culture-loaded Words of Philosophy====
The philosophy of Chinese medicine is the ideological basis and theoretical guidance of Chinese medicine, covering Qi, Yin and Yang, and the Five Elements and so on. Among them, the theory of Yin and Yang is the main line of Treatise on Febrile Caused by Cold, which is expressed as two opposite sides of the same thing or two opposite things in a unified way. Jiang Mingde and others have analyzed the polysemous nature of the term "Yin and Yang" in Treatise on Febrile Caused by Cold, and pointed out that Yin and Yang can represent multiple meanings such as pulse location, pulse condition, disease attributes, pathological characteristics, etc(Jiang Mingde, 1992:7-8). The specific meanings in terms vary according to the environment and the translators different. Some examples are analyzed as follows.

Example 1：阴阳自和

Translation：if yin and yang are still in harmony

"阴阳自和" means that after sweating, vomiting, and using the purgation method, the human body achieves Yin-yang harmony and heals through self-regulation. This is an important content of Chinese philosophy. This tends to be a kind of dynamic balance, while Luo Yi's translation of “in harmony” is more inclined to a kind of static stability, which is somewhat different from the original meaning.

Example 2：脉阴阳俱浮

Translation：floating pulse at Yin and Yang

The translations of “阴阳” here are still transliterated as Yin and Yang. As a matter of fact, the two terms here refer to “Cun” and “Chi” (the transliteration of “寸部” “尺部”) appearing as floating features. Cun pulse pertains to Yang, and Chi pulse is to Yin. Professor Luo only uses transliteration, without supplementing background knowledge and relevant contextual information, so that readers in the target language may not understand what exactly they refer to.

Example 3：伤寒阴阳易之为病

Translation：Febrile disease caused by Cold with Yin Yang Yi syndrome

Luo adopts transliteration and free translation. In regard to Yin Yang Yi, Yin and Yang here refer to sexes of male and female, among which Yin Yi is the disease transmitted from female to male; Yang Yi is the diseases transmitted from male to female. After analysis, it can be found that most of philosophical characters such as Yin and Yang are transliterated by Luo, who does not provide additional explanations or supplementary background information. Without pre-connotations, this kind of translation would make the target language readers and feel confused and think that the translated work is obscure.

====3.5 Translation Strategy of Culture-loaded Words of Rhetoric====
The language of Chinese medicine has its unique features, which are mainly manifested in its literariness, rich philosophical thoughts, and good at comparing images and analogies. Various rhetoric techniques can be seen everywhere in the book. While deepening people’s understanding of the original text, it also increases the difficulty of literary translation into English. The correct transmission and translation of the true meaning requires a solid foundation in Chinese medicine and linguistics.

Example 1四肢烦疼：

Translation：the patient feels heavy and painful in the extremities

The "烦" in this phrase, Explanation of Treatise on Febrile Caused by Cold and other books explain it as an annoyance, a kind of feeling for people. The Chinese sentence here is a non-spirited sentence to replace people with limbs. Luo’s version of the translation emphasizes people's feelings. It rather focuses on people's feelings of heavy pain in their limbs, than translates people's feelings of boredom.

Example 2：啬啬恶寒，渐渐恶风，翕翕发热

Translation：The patient feels chill and fears wind, uneasy because of a fever.

Among them, “啬啬” “渐渐” and “翕翕” manifest various kinds of rhetoric techniques. “啬啬” reflects the howling shudder look, expressing that the degree of people’s aversion to cold is severe. And “渐渐” describes the onomatopoeia of mild wind and rain, while “翕翕” describes the appearance of mild fever, but these characters are not translated in Luo's translation, and Luo adopts the omission method.

===4. Conclusion===
''Treatise on Febrile Caused by Cold'' is a classic work of Chinese medicine and a treasure of Chinese medicine culture. The translation and dissemination of this book has extraordinary significance for the promotion of Chinese culture and the connotation of Chinese medicine. The culture loaded words are the condensed form of the unique national culture, and their translation is related to the readability of the entire book. The English translation of culture loaded words in Chinese medical classics is an extremely complex cross-cultural translation activity. It not only takes cultural characteristics into account, but also reflects the characteristics of scientific and technological styles, which is a great test for the level of translators. Professor Luo’s translation of this book is the world's first fully translated English translation of TCM classics. The book was published earlier than most translations. Under the background of that time, Luo Xiwen's translation of Treatise on Febrile Caused by Cold is no doubt of pioneering significance.

The translation strategies Professor Luo chooses are basically literal translation, free translation, omission, and transliteration, with few additional interpretations. Each of these translation strategies has its own advantages and disadvantages. The ultimate goal of translation is for readers to better understand the original text, and there is definitely a great similarity between the two different medical systems of Chinese and Western medicine, which cannot be separated. Literal translation can be used appropriately, and some of Western medicine terms can be used to express some concepts of that of Chinese medicine. Literal translation is a translation method that maintains both the original content and the original form. Generally, when the target language and the original language can express the same content in the same form, we will use literal translation. However, culture loaded words are the difficulties of translation due to the vocabulary vacancy in the target language. The use of literal translation seems to be contradictory. In fact, the choice of literal translation is also for the construction of the concept of TCM culture. Although Chinese medicine culture loaded words are not only a language full of Chinese national characteristics, but also a part of the world's national culture. We should also have full cultural self-confidence. In the translation process, we should dare to retain the national cultural characteristics, express the Chinese medicine culture with the conceptual language of Chinese medicine, and present the pure and natural Chinese medicine culture to Western readers, so as to increase the understanding, recognition and respect of the Chinese medicine culture. This is why Professor Luo extensively use transliteration is his translation, which reflects his care and thought. At the same time, we have to admit that Luo’s translation also has its shortcomings, such as mistranslation or incomplete translation of culture loaded words with multiple meanings, omission of some modifiers, and no supplementary explanations for relatively large differences between Chinese and Western cultures. In the future, Chinese medicine Translation needs to continue to explore, innovate, revise and develop.

All in all, the translation of Chinese medical culture loaded words must not only maintain national cultural characteristics, but also be conducive to the understanding and acceptance of target readers. All major translation strategies are worthy of careful consideration. Only translators familiarize themselves with the original text, master the similarities and differences between the two languages, choose the most appropriate translation strategy in different contexts, and supplement the relevant cultural background when necessary to help readers understand, translations of Traditional Chinese Medicine classics can be rather outstanding.

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--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 14:07, 8 December 2021 (UTC)

=15 陈静 The Translation of Culture-loaded Words From the Perspective of Skopos Theory: A Case Study of ''Xi Jinping: The Governance of China''=
[[Cult_Load_Words_EN_15]]
===Abstract===
The Communist Party of China celebrates its 100th anniversary in 2021. Xi Jinping: The Governance of China (Volume III) was published at a critical juncture. Xi Jinping's political vision is expanded in the third version. This book provides foreign readers with a window into China's leadership and insight into China's unique governance. Hence, the book is critical in assisting foreigners in understanding China's political position in domestic and international affairs. The purpose of this article is to investigate and analyze the translation strategies of culture-loaded words in Xi Jinping: The Governance of China (Volume III) using the framework of the Skopos Theory.

===Key words===
Culture-loaded words; Skopos theory; ''Xi Jinping: The Governance of China
''

===Introduction===
this subtitle is repeated I think, you can delete this one. And delete this my sentence as well.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:48, 13 December 2021 (UTC)

===1. Introduction===
====1.1 Research Backgrounds====

Language is a cultural carrier as well as an important means of understanding specific ethnic and national cultures. Each country’s language contains more or less culture-loaded words, and the connotation of these words differs from people’s general cognition of them in the context of globalization, reflecting their own unique culture, national color, and historical context. Because each nation has its own development history, social system, ecological environment, religious beliefs, and so on, the language will inevitably derive a large number of words, allusions, and idioms condensing the national historical and cultural characteristics during the development process of history. With a five-thousand-year-long history, Chinese has amassed a large number of culture-loaded words, and translation of culture-loaded words is an important carrier for cultural readers from other countries to understand Chinese culture without relevant cultural background.

From my perspective, "five-thousand-year-long history" is a little Chinglish, maybe "five-thousand-year history" is better.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:58, 13 December 2021 (UTC)

At the specific practice level, a large number of culture-loaded words will inevitably appear in the text as a material to publicize all aspects of the country. A good example is Xi Jinping: The Governance of China (Volume III). General Secretary Xi Jinping quoted classics and used approachable language in his speech. His use of words infused with Chinese culture made this series of speeches more vivid and appealing to the audience. Through careful text reading, analysis, and summarization, it has been discovered that the culture-loaded words used in Xi Jinping: The Governance of China (Volume III) primarily fall into the following categories: Chinese political words, including political slogans and political characters; a large number of ancient Chinese poems, with cultural connotation primarily reflected in the characters, allusions, and images appearing in poetry; unique Chinese sayings and idioms; and special words with Chinese cultural connotation, such as numbers, etc. The translation of culture-loaded words necessitates translators faithfully conveying the essence and soul of their national culture while accurately and properly understanding the beliefs, customs, and aesthetic values in other national cultures in order to achieve true cultural communication. As a result, in order to achieve the goal of Chinese culture spreading, translators should carefully deal with culture-loaded words and strive to accurately convey the essence of traditional Chinese culture to target language readers.

====1.2 Research Significance====

China’s politics and policies are attracting increasing attention from the outside world as China’s overall national strength and economic development improve. The Communist Party of China celebrates its 100th anniversary in 2021. This is a significant event in Chinese ruling party's historical and political development. ''Xi Jinping: The Governance of China (Volume III)'' was published at a critical juncture. Xi Jinping’s political vision is expanded in the third version. The language in the book is rich and diverse. In addition to general political terms, the book employs rhetorical devices such as exclusion and repetition to improve the language’s persuasion. The books also contain a large number of poems, proverbs, and idioms rich in Chinese cultural heritage. A minor blunder may result in cultural misunderstanding, a negative national image, and an impact on international relations.

According to Gao Fang (2010), in the context of “Chinese culture go out”, the country has taken various measures to strengthen cultural export, but Chinese readers disregard for local literature, western readers of Chinese culture cognition, English world innate discrimination against translation work and translation strategy decisions, which reflects the difficulties in the broadcast of Chinese culture. As a result, it has piqued the interest of the domestic literary circle, the translation circle, and various publishing institutions: how to successfully realize cross-cultural communication of cultural works, how to properly and effectively solve the translation problem?

The paper uses the English translation of culture-load words in ''Xi Jinping: The Governance of China'' as the research content, and attempts to summarize and analyze the translator’s translation strategy and rationality when translating Chinese culture-loaded words from the perspective of Skopos Theory, as well as providing a reference for the English translation of Chinese cultural load words in current publicity materials.

===2. Literature Review ===
====2.1 Culture-loaded Words====

Nida proposed the theory of culture-loaded terms translation for the first time in 1945.

Nida classified culture-loaded terms into five categories, including ecological, material, social, religious, and linguistic culture-loaded terms. Ecological culture-loaded terms are words or phrases that are distinct due to their ecological and environmental conditions, which typically involve animals, plants, and climate. Material culture-loaded terms refer to physical objects that are specific to a culture, such as vehicles, food, or clothing. Social culture-loaded terms encompass a broader range of cultural content, encompassing all aspects of social life such as cultural background, social rules, history, traditions, and so on. Religious beliefs, including myths and fairy tales, are examples of religious culture-loaded terms. Linguistic culture-loaded terms are expressions with rich cultural characteristics, such as specific pronunciation, word, and syntax. From the author’s perspective, Aixela (1996) provided two primary classifications of culture-loaded terms: specialized nouns and common expressions.

Newmark (2001: 70) classified culture-loaded terms into five categories based on Nida’s research: proper names, historical institutional terms, international institutional terms, national institutional terms, and cultural terms. Proper names, according to Newmark (2001: 70), refer to “persons, objects, and processes distinctively owned by an ethnic community with singular references”. Brand names, trademarks, geographical names, names of newspapers, firms, journals, and private institutions, as well as proprietary names, are all examples of proper names, according to Newmark (2001). According to Newmark (2001: 74), historical institutional terms are “token words that give color and flavor to a period”. International institutional terms are words used by international organizations that have an official translation. According to Newmark (2001: 75), national institutional terms are those involving modern politics, finance, administration, and society. The scope of general cultural terms is broader, including ecological terms, loanwords with no specific cultural characteristics, and so on.

Chinese academics also proposed their own classifications of culturally charged terms. Tu Guoyuan (1996) agreed with Nida and Newmark’s classification and defined culture in a broader sense as human society's mental and practical activities. In a broad sense, culture is defined as a community's distinct way of life and how it expresses its ideas. Culture-loaded terms, according to Liao Huihua and Ge Lingling(2010: 101), are words, phrases, and idioms that represent unique items in certain cultures. These terms reflect the distinct activities of specific ethnic groups that have accrued over time and distinguish them from other cultures.

====2.2 The Skopos Theory====
Skopos Theory, the foundation of Functionalist Translation Theory, was proposed by Vermeer, a student of Reiss. According to Skopos Theory, the primary principle determining the translation process is the purpose of translation activities.

There are three types of purposes, according to Vermeer. To begin, there is a broad goal that a translator strives for, such as translating as a source of professional income. Second, a target text's communicative purpose in a target context, such as instructing the audience. Third, the goal of a translation strategy or approach, such as displaying structural characteristics of the source language. The theory views the source text as a "offer of information in a target culture," which is a result of constructivist comprehension theories.

The Skopos Theory states that there are three basic rules.

First and foremost, the Skopos rule. It is the highest-ranking rule for any translation, implying that translation activities are determined by the translation purpose. Each text is written with a specific purpose in mind and should be used for that purpose only. Because translation behavior is determined by the purpose of the translation, the Skopos rule is the primary rule for all types of translation.

The coherence rule is the second. This rule states that the target text must be coherent enough to be understandable given the intended receivers' background and context. At the very least, the translator should ensure that the translation is understandable to people from the target culture. Furthermore, only when the target text meets the standard of being intratextually coherent can it be expected to play a presupposed role in the communicative situation and culture in which it is received, and the audience will understand it without difficulty.

The third is the rule of fidelity. This rule focuses on the intertextual coherence between the translation and the original text, which is not the same thing. The former is thought to be inferior to the latter, and both are subject to the Skopos rule. When the purpose of the function changes, the standard is no longer intertextual coherence with the source language, but adequacy or appropriateness in relation to the purpose (Reiss and Vermeer, 1984). It is critical in translation that there is intertextual coherence between the source and target texts, and the form of this coherence depends on both the translator's understanding of the original text and the translator's translation purpose. There is only one possible intertextual coherence: maximum fidelity to the original text.

Skopos Theory’s three basic rules are intended to guide the translator throughout the translation process. In most cases, the translation cannot meet all three rules at the same time because doing so causes it to deviate from the original intention of the source text. In general, the Skopos rule should be followed by the coherence rule, followed by the fidelity rule, or, to put it another way, the need for loyalty is considered to be subject to intratextual coherence, both of which are subject to the Skopos rule. When a faithful translation of the original text cannot be effectively understood by receivers of the target text, the translator should abandon the fidelity rule and follow the coherence rule, that is, to make the translation meaningful in the target language’s communicative context and culture. If the function changes, the required standard will no longer be intertextual consistency with the source text, but adequacy or appropriateness in terms of the purpose (Nord, 2001). If the purpose necessitates intratextual incoherence, the intratextual coherence criterion is no longer applicable.

====2.3 The Translation Strategies of Culture-loaded Words====

Wang Jianguo (2019) identified four limitations in translating culture-loaded words.

First, culture-loaded words are untranslatable. Culture has a distinguishing feature that sets it apart from the culture of the target language. Culture-loaded words are difficult to translate in certain literary works because they require more explanation and thus have the potential to influence the structural and aesthetic value of the target text. Second, cultural information that is highly relevant to the theme should be translated, and explanatory notes should be included as needed. If the culture-loaded word is unrelated to the source text, the target text will most likely be deleted or omitted. If the target text translated with literal translation can be understood, then literal translation is the most likely translation strategy to be used. Third, cultural values are difficult to convey. As a result, while translating culture-loaded words with Chinese characteristics, western media translation can be borrowed. Gu Hongmin, for example, translated “君子” as “a wise man”. Western culture emphasized wisdom, whereas Chinese culture emphasized benevolence. Gu translated “君子” as “wise man” because he thought the two words were culturally equivalent. Fourth, the principle of economy should be applied in translation. Wang discovered that when culture-loaded terms in the source text have little influence on comprehending the whole article, translators can find culturally equivalent words so that the target text will be more concise.

Wang also classified translation strategies into three categories: literal translation, non-literal translation, and translating words with unique cultural information.

The first strategy is literal translation. When there are words with similar cultural meanings, a literal translation is usually used. One type of literal translation is transliteral translation, which refers to the use of pinyin to translate culturally loaded words. Because transliteral translation preserves more cultural characteristics of the source language, it is frequently used in target text of the Big Breasts and Wide Hips. A translation strategy like this can help to avoid misinterpretation of the source language’s culture.

The second strategy is non-literal translation. This translation strategy is typically used in reader-friendly texts in the target language. Such a translation strategy does not adhere to the source text and overcomes constraints in language structure, which is a widely accepted strategy among targeted readers. Nonliteral translation strategies include explanatory notes both inside and outside the main body, including footnotes and tail notes. Filling-in translation is commonly used with literal translations, but it is also one of the non-literal translation strategies. Deletion refers to the practice of translators removing unnecessary words when the original meaning is unaffected.

The third strategy is to translate words that contain specific cultural information. Wang pointed out that idioms, aphorisms and maxims, two-part allegorical saying, the common saying, idioms and proverbs are the six major categories of idiomatic expressions. In many cases, the target text contains no words or phrases that are completely culturally equivalent to the source text.

===3. Analysis of Translation of Culture-loaded Words in ''Xi Jinping: The Governance of China''===
====3.1 Translation Strategy of Social Culture-loaded Words====

Social culture-loaded words reflect social ideology, which refers to the system in the form of social and economic factors in specific classes or groups. Social culture-loaded words encompass all aspects of social life, such as social activities, historical allusions, and festival customs. Words or phrases containing social culture-loaded words will emerge from a specific social context. As a result, it encompasses a wide range of word collocations. Political terms with Chinese characteristics, Chinese common saying, and rhetoric in Chinese are examples of social culture-loaded terms.

ST: 中国在人类发展史上曾经长期处于领先地位，自古以来逐步形成了一整套包括朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度、军事制度等各方面制度在内的国家制度和国家治理体系。

TT: Over a long period of history China led the world in development. It forged a complete set of state and governance systems covering the court, administration of prefectures and counties, land, taxation, civil service examination, supervision and the military.

“朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度” are institutions in the past of China that international readers may not be familiar with. In this case, the translators use literal translation by looking for words with similar meanings in the target language and the source language while adhering to the fidelity rule. “郡县” is translated into the modern expression of “prefectures and counties”. Such a translation strategy is in accordance with the principle of efficiency in dealing with cultural information. When the cultural information in the source text has limited influence on comprehending the entire passage, most translators will use a common strategy of finding words or phrases with similar meanings. By doing so, the original context's structure is not jeopardized, and the target text can adhere to the original meaning, which meets the fidelity rule’s requirement.

A similar strategy is adopted in translating “税赋” and “土地”. As for“税赋”in ancient China, the feudal land tax and taxation are included. However, the purpose of this excerpt is only to provide context for China's magnificent culture. Translators look for culturally equivalent words so that the target text is more precise and coherent. When translating “税赋”, since feudal land tax is a unique expression of the social system in ancient China and has little influence on the meaning of the whole passage, the translators use deletion and only translate the meaning of “税”. “土地制度” is also translated into the brief version of “land”, also using the strategy of deletion. Instead, inline annotation is used by translators when translating “科举制度”. “科举制度” is a unique examination system for public officials in ancient China, and it is difficult to find culturally equivalent words for it. To avoid misinterpretation from international readers, the translators explain this noun through explanatory notes, employing the Skopos rule to ensure effective cross-cultural communication. The translators take into account the cultural backgrounds of international readers and used culturally equivalent words in the target language. The goal of these two different translation strategies is to make cross-cultural communication easier. The Skopos rule and the coherence rule have been followed as a result of these strategies.

ST: 广大青年要坚定理想信念，志存高远，脚踏实地，勇做时代的弄潮儿，在实现中国梦的生动实践中放飞青春梦想。

TT: To all our young people, you should have firm ideals and convictions, aim high, and have your feet firmly on the ground. You should ride the waves of your day; and in the course of realizing the Chinese Dream, fulfill your youthful dreams.

“弄潮儿” is a common Chinese saying that originally referred to swimmers who swim against the tide but has since come to refer to people who are brave and entrepreneurial. This phrase has Chinese cultural characteristics and comes from a poem written during the Tang dynasty. This phrase was translated literally by the translators in accordance with the fidelity rule. The fidelity rule requires translators to avoid contradicting the original meaning of the source text while making the translation more understandable in light of the cultural differences. In the target text, the translators use literal translation to directly translate “弄潮儿”, implying that people should follow the trend of the times, which also meets President Xi’s extended meaning. Certain cultural information has its uniqueness, making it untranslatable. “弄潮儿” is a distinctive Chinese expression, and “ride the waves” refers to enjoying the advantage or benefit of a particularly successful, popular, fortunate or interesting moment. It can be difficult to find phrases that are completely culturally equivalent, so the translated version restored as much of the original information as possible, demonstrating how the fidelity rule is applied in the target text.

The above-mentioned social culture-loaded terms demonstrate a high level of adherence to the coherence rule and the Skopos rule, most likely due to the fact that social culture-loaded terms vary greatly across cultures. Target readers may find it difficult to interpret translations that strictly adhere to the fidelity rule, whereas translations that adhere to the coherence and Skopos rules can better facilitate cross-cultural communication. According to the appendix’s collected social culture-loaded terms, the majority of social culture-loaded terms used deletion, literal translation, and inline annotation. These three strategies allow international readers with limited knowledge of Chinese society to comprehend China’s policies and read the volume fluently.

====3.2 Translation Strategy of Material Culture-loaded Words====

Material culture-loaded words include material products and technology invented by human beings derived from the development of society. The third volume’s material culture-loaded terms can be divided into four categories: construction, items, literary works, and names. Most material culture-loaded terms use transliteration and amplification strategies when translating literary works and names, as well as substitutions when translating constructions and products. Materials can have a variety of meanings in different cultures. For example, in Chinese culture, the terms “勤务员” and “伙夫” are distinct expressions that may not have equivalent words or phrases in English. While translating these words, translators should be aware of expressions in Western culture with similar meanings.

ST: 中华民族伟大复兴，绝不是轻轻松松、敲锣打鼓就能实现的。

TT: Achieving national rejuvenation will be no walk in the park; it will take more than drum beating and gong clanging to get there.

East and Southeast Asian musical instruments include drums and gongs. Gongs and drums, with their symbolic meaning of hyping up, can be used in times of grand celebrations in Chinese culture. President Xi is emphasizing the difficult efforts that the Chinese people must make in order to achieve national rejuvenation. As a result, the translators use the translation strategy of addition to limit the boundaries the source text may transform so that the readers can have a more precise understanding, as shown in this excerpt by how the Skopos rule is applied. Meanwhile, the translators render the phrase as "drum beating and gong clanging," demonstrating the fidelity rule. The literal translation is used here to restore Chinese cultural connotations. The fidelity rule in translation requires equivalence in meaning and refers to word for word translation. In this case, the translators have kept the names of well-known Chinese musical instruments. At the same time, the translators explain their connotations, in order to maintain the fidelity of the target text to the source text and to improve cross-cultural communication. Understanding and conveying information of “rejuvenation is no easy task” to international readers is facilitated.

ST: 天宫、蛟龙、天眼、悟空、墨子、大飞机等重大科技成果相继问世。

TT: ... with major advances made in science and technology, including the successful launch of space lab Tiangong, the commissioning of the deep-sea manned submersible Jiaolong and of the five-hundred-meter aperture spherical telescope (FAST) Tianyan, the launch of the dark matter probe satellite Wukong and the quantum science satellite Mozi, and the test flight of the airliner C919.

In material culture-loaded terms, the aforementioned Chinese innovations fall under the category of "names." Tiangong, Jiaolong, Tianyan, Wukong, and Mozi are all important cultural figures in China, representing advances in science and technology. The translators use inline annotation to further explain these terms, demonstrating the application of the Skopos rule. This type of explanatory inline annotation takes into account English readers' understanding of Chinese culture-loaded terms. It is a limitation of language form of culturally loaded terms that also facilitates international readers' understanding of Chinese cutting-edge technology. Though the length of the article is longer, semantic conveyance can be realized through the explanation that Tianyan is the five-hundred-meter aperture spherical telescope, and the purpose of the book of showing international readers China’s accomplishments is achieved. The original names are faithfully conveyed through transliteration of these advances in science and technology. On the one hand, international readers can still see Chinese culture embodied in cutting-edge technology. Readers from different cultures, on the other hand, can still understand what these terms are thanks to inline annotation, which follows the Skopos and fidelity rules.

In these examples, the fidelity rule takes precedence over the skopos rule. Material culture-loaded terms are typically objects with Chinese characteristics. In most cases, these objects will have no effect on the coherence of the target text. As a result, fidelity to the original text and facilitation of cross-cultural communication are given top priority. Transliteration and inline annotation are the most widely used methods for translating material culture-loaded terms, demonstrating that translators prioritize preserving cultural information and making target text easily understood by international readers.

====3.3 Translation Strategy of Linguistic Culture-loaded Words====
Linguistic culture-loaded words reflect phonetic meaning of language at the language family level. In contrast to English, Chinese language, particularly idioms, typically uses four-character structures. Linguistic culture-loaded terms can be found in a variety of contexts. Linguistic culture-loaded terms include idioms, classical literary prose, the two-part allegorical saying, proverbs, and so on. Linguistic terms that are culturally loaded are more difficult for international readers to understand. As a result, translators must employ translation strategies that are both effective and skillful in order to facilitate cross-cultural communication.

ST: 鸦片战争后，中国陷入内忧外患的黑暗境地，中国人民经历了战乱频仍、山河破碎、民不聊生的深重苦难。为了民族复兴，无数仁人志士不屈不挠、前仆后继，进行了可歌可泣的斗争。

TT: But with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression; its people, ravaged by war, saw their homeland torn apart, and lived in poverty and despair. With tenacity and heroism, countless dedicated patriots fought, pressed ahead against the odds, and tried every possible means to seek the nation’s salvation.

In this excerpt, “战乱频仍”，“民不聊生”, “仁人志士”, “不屈不挠”, “前仆后继” and “可歌可泣” are Chinese idioms, with distinct national characteristics in language structure and expression. These idioms have a distinct origin in Chinese culture and are inextricably linked to national culture. It is not necessary to find culturally equivalent idioms in English when translating these idioms. The Chinese nation and Western countries share a wide range of values and aesthetics. If too many idioms are used in English translation, the same tired formulas will appear. The translations of these idioms are divided into two categories based on the coherence and fidelity rule. The first is deletion, and the second is literal translation. These idioms are intended to demonstrate that, even in difficult situations, Chinese patriots are willing to press on, which has a low chance of causing cultural misinterpretation for international readers. As a result, “战乱频仍”, “民不聊生”, “不屈不挠” and “前仆后继” adopt literal translations that improved the original meaning and demonstrated how the fidelity rule is applied. “仁人志士” is translated as “dedicated patriots” because, while it originally referred to people who were charitable, its meaning later evolved to patriots, which is also translationally adapted to the context. This translation eliminates ambiguity and allows for a more coherent reading experience. Meanwhile, “可歌可泣” was removed while translators worked from a results-oriented perspective and demonstrated the outcome of their struggle, which is "tried every possible means to seek the nation's salvation." The coherence rule was followed in this case by making the reading process for the target text readers smooth and interrupted.

ST: 应该风雨同舟，荣辱与共，努力把我们生于斯、长于斯的这个星球建成一个和睦的大家庭，把世界各国人民对美好生活的向往变成现实。

TT: We are in the same boat, and we should stick together, share weal and woe, endeavor to build this planet of ours into a single harmonious family, and turn peopled longing for a better life into reality.

The translators used two translation strategies in the passage: literal translation and full implication. These strategies adhere to the Skopos rule. When translating “风雨同舟” and “荣辱与共”，the translators restore the meaning of the two idioms, because these two idioms are an essential part of the source text in the construction of meaning. However, “生于斯、长于斯” has been translated into “the planet of ours", demonstrating the adoption of full implication. “生” and “长” are part of the process, and this process is implicated in the “the planet of ours”, which is a result-oriented structure. The translators omitted the process and presented the end results to international readers, restoring the meaning, by employing various translation strategies. The use of various strategies exemplifies the Skopos rule of facilitating cross-cultural communication.

The examples above show that the coherence rule and the skopos rule can be found frequently in the translation of these linguistic culture-loaded terms. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded terms. Linguistic culture loaded terms are words or phrases with distinct Chinese characteristics; thus, most translators adhere to the Skopos of improving cross-cultural communication and use literal translation and inline annotation to preserve cultural value. In some cases, the linguistic culture-loaded terms are too difficult to restore their implication; therefore, the translators used deletion and full implication to improve the reading experience of international readers, demonstrating the importance of the coherence rule in the target text. With the impression that international readers will be unable to fully comprehend the meaning of such cultur3-loaded words unless they have a basic understanding of the Chinese social, ecological, and cultural environment, translators should shoulder the responsibility of selecting different translation strategies under the guidance of the Skopos theory and constructing a bridge between different cultures.

====3.4 Translation Strategy of Ecological Culture-loaded Words====

Ecological culture-loaded words reflect the climatic features, natural environment and geographical conditions in an area. People from various regions have distinct expressions that reflect regional characteristics. There are three major categories of ecological culture-loaded terms: animals, plants, and places. Cows and oxen, for example, are animals that represent diligence and industriousness in China, whereas in Western countries, the expression "work all day like a donkey" is common. As is well known, the geographical environment of China gives rise to an agriculture-based culture with a large vocabulary for animals and plants. It explains why many idioms in Chinese and English have completely different meanings. To help international readers fully understand different cultures, translators should use different strategies when translating ecologically and culturally loaded terms. The following examples will demonstrate the use of translation strategy.

ST: 坚定不移“打虎”、“拍蝇”、“猎狐”

TT: We have taken firm action to “take out tigers”, “swat flies”, and “hunt down foxes”.

In Chinese culture, the tiger is both a revered entity and a hunted beast. Tigers are used as a symbol of vigor and vitality in Chinese idioms such as “虎虎生威” (forge ahead with the vigor and vitality of the tiger) and “生龙活虎” (with furious energy). Nonetheless, there are numerous expressions and literary works in which tigers are portrayed as ferocious villains, such as the stories of Wu Song or Li Kui beating tigers. President Xi Jinping’s expression here is reminiscent of tiger figures in fiction, in which heroes battle tigers. The image of a tiger has various meanings in Western culture as well. On the one hand, it is associated with beauty and power, but it has also been referred to as a man-eater on numerous occasions. Tigers are described as “burning bright” and “dare seize the fire”, but it also appeared in Jim Corbett's adventures in India, where he used to hunt "man-eaters," including tigers. Because the images of tigers are so similar, the translators used literal translation in their translation strategy under the rule of fidelity. To save space, translators will use literal translation when a targeted language has words with the same or similar cultural meaning as the source language. Meanwhile, the ecological culture-loaded term revealed the Skopos theory’s fidelity rule. “打虎”, “拍蝇” and “猎狐” are expressions with Chinese roots. Fighting corruption is like fighting tigers, flies, and foxes. Tigers and flies can refer to corrupt officials at various levels in these expressions, while the original meaning of the source text is preserved. It is difficult to find words in Western culture that are culturally equivalent to these ecologically loaded terms. Therefore, the translators did not change the meaning of source text by using literal translation. Such selection of translation strategy shows how fidelity rule is applied.

ST: 深入开展调查研究，解剖麻雀，发现问题。

TT: We should conduct in-depth research to identify prominent problems.

In Chinese culture, there is an old proverb of “麻雀虽小五脏俱全”, which means “A sparrow may be small but it has all the vital organs”. Sparrows can represent small but vital items, whereas such expressions are difficult to find culturally equivalent terms in Western culture. The similarity between “解剖麻雀” and “发现典型” is understandable in Chinese, but the literal translation of “anatomy of a sparrow” may be difficult to grasp for an international audience. As a result, translators use deletion to make target text more fluent without affecting the original text, and the coherence rule is demonstrated in the translation strategy selection. The translation of “解剖麻雀” is omitted, and the translation of “发现典型” encompasses the extended meaning of “sparrow as the major problems”. If both terms are translated, the English expression will be reductant and not conform to English expressions. According to the coherence rule, the author omitted the explanation of why sparrow means prominent problems to facilitate readers’ reading experience and made the reading uninterrupted.

The example above show that when translating ecological culture-loaded words, translators would consider three rules of the Skopos theory, with the coherence rule taking precedence. It is most likely because most ecological culture-loaded words are names of places or animals, which may be unfamiliar to international readers. To ensure that target readers read in a consistent manner. In translating ecologically loaded terms, the translators use literal translation (including transliteration, implication, and deletion). The mixed-use of translation strategies revealed various rules that are used in translation.

===4. Conclusion===

Since the publication of ''Xi Jinping: The Governance of China (Volume III)'', it has served as the Chinese government's authoritative voice and a window for the rest of the world to understand China's policies. It crystallizes Chinese governance theory and practices and has high research value.This thesis is concerned with the classification of culture-loaded words, their translation strategies, and how these strategies demonstrate the application of three Skopos theory rules.

The Skopos theory, according to the analysis of these examples, can be used as a guiding principle for translating texts similar to those in ''Xi Jinping: The Governance of China (Volume III)''. The Skopos rule states that the translation strategy is determined by the purpose of the target text. The coherence rule, also known as intertextual coherence, requires readability in the target text and will not cause dyslexia in grammar or logic. Using the fidelity rule, the target text should be faithful to the original text. However, the fidelity rule does not require literal word-for-word translations; rather, it necessitates flexibility on the part of the translator.

Following a brief examination, it is discovered that culture-loaded words in ''Xi Jinping: The Governance of China (Volume III)'' can be divided into four major categories, with social and linguistic culture-loaded words accounting for the lion’s share. The coherence rule is frequently demonstrated in the translation of ecological culture-loaded words. Names of places or animals are examples of ecological culture-loaded words. To achieve coherence in the target text, the translators employ literal translation (including transliteration), implication, and deletion strategies when translating ecological culture-loaded words. The fidelity rule and the Skopos rule are frequently seen in target text when translating material culture-loaded words. The majority of material culture-loaded words are objects with Chinese characteristics. Transliteration and inline annotation are the most widely used, demonstrating that translators prioritize being faithful and making target text understandable to international readers. The translation of social culture-loaded words demonstrates a high level of adherence to the coherence and Skopos rules, which is likely due to the fact that social culture-loaded words differ greatly across cultures. The majority of social culture-loaded words were deleted, literal translated, or annotated inline. These three strategies promote coherence in the target text, making it easier to read and comprehend. Linguistic culture-loaded words are words or phrases that have distinct Chinese features. When translating terms of this nature, the translator usually adhered to the coherence and Skopos rules. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded words.

To sum up, different translation strategies are very important and indispensable. Different translators would adopt different translation strategies when translating culture-loaded words due to the constraints of history, politics, culture, language and translation objectives. In order to better carry out the translation and transmission of literature and culture, different translation strategies should be used together to supplement each other.

===References===
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王建国. 汉英翻译学：基础理论与实践[M]. 北京：中译出版社，2019.

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栗慧敏,牛桂玲.中央文献翻译与传播研究的现状与趋势——以《习近平谈治国理政》为例[J].民族翻译,2021(04):22-32.DOI:10.13742/j.cnki.cn11-5684/h.2021.04.004.

吴霜,何泠静.交际翻译理论视角下文化负载词英译研究——以《习近平谈治国理政》英译本为例[J].汉字文化,2020(23):127-129.DOI:10.14014/j.cnki.cn11-2597/g2.2020.23.061.

高慧贤,张浩,王浩勇.目的论视角下《治国理政》儒学文化负载词英译研究[J].作家天地,2020(07):58+60.

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Culture loaded words

2021-12-14T07:29:00Z

Cheng Yang: /* 13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in Border Town:A Case Study of Dai Naidie’s English translation */

'''Culture Loaded Words'''

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=1 羊叶 The Analysis of Culture-loaded Words of English Subtitle Translation in Chinese Movies-Taking Farewell to My Concubine as an Example =
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电影中英译字幕文化负载词的翻译分析——以《霸王别姬》为例
=== Abstract ===
Nowadays, popular films are increasingly active on the Internet. Confronting such a mass need for film translation, subtitle translation is winning more favor compared with traditional dubbing translation. This paper, taking Farewell My Concubine as an example, analyzes the strategies and methods of translating culture-loaded words. The conclusions are as follows: In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

=== Key Words ===
Subtitle Translation; Farewell My Concubine; foreignizing method; domesticating method
=== 摘要 ===
如今，电影在互联网上越来越受欢迎。比起传统的配音翻译，字幕翻译更受青睐，电影对字幕翻译的需求巨大。本文以电影霸王别姬为例，分析翻译文化负载词时所用的翻译策略和翻译方法。结论如下：就译者而言，翻译者需精通中文和英文两种语言；就翻译策略而言，归化与异化两者对立且相互统一，没有绝对的归化、异化之说；就翻译方法而言，在翻译文化负载词时，贾佩琳主要采用了意译、直译、具体化、一般化、省略等翻译方法，成功地保留和传达了北京方言和京剧的国粹部分。
=== 关键词 ===
字幕翻译；霸王别姬；异化；归化
=== Introduction ===
1.1Research Background

Innovation of information technology brings energy for the advancement of broadcasting ways of film and television programs. More and more foreign popular films are increasingly active on the Internet; more and more local films with Chinese elements are also introduced abroad. Researchers on subtitling translation are becoming more and more important.
China's Opening-up and Reform facilitates the cultural communication between China and the outer world. In the introduction of foreign films and TV plays, language understanding becomes an obvious barrier for audiences. Two major solutions to solve such a barrier are dubbing and subtitle translation. "Subtitles sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen." Relatively, the latter one is more favorable than the traditional dubbing way because of its cost-effectiveness, short producing cycle and audience-acceptability. With higher educational background and foreign language level, many Chinese audiences expect that films can be displayed with “a natural and original flavor” nowadays.
Under such circumstances, subtitle translation seems to be more acceptable to get access to foreign audience. Among so many elements involved in the subtitle translation process, the translator plays the most significant part, thus becoming a key and central element in the subtitle translation system. Therefore, a good subtitle translation with “a natural and original flavor” sets high and strict requirements for the translator.（Liao, 2000: 231）

1.2 Brief Introduction to Farewell My Concubine

Farewell My Concubine, the film version adopted in this thesis is the 1993 one whose heroes and heroines are Duan Xiaolou (acted by Zhang Fengyi), Cheng Dieyi (acted by Zhang Guorong) and Ju Xian (acted by Gong Li) respectively. In the film, Xiaolou and Dieyi are fellow apprentices learning Beijing opera performance together from childhood. Later on, their cooperation in the opera Farewell My Concubine makes them famous overnight throughout Beijing city. Thereafter, they make a promise to each other that they will perform Farewell My Concubine together as long as they are alive. However, their different understandings of the relationship between the opera and life finally lead to their different choices: Until mid-age, Xiaolou deeply knows that the opera isn't his whole life, so he gets married with a famous whore called Juxian; Dieyi, however, becomes totally immersed in the complicated plots and role relationships of the operas, especially Farewell my Concubine. Around such a classic and famous opera, the love and betrayal among them become escalating with the changes of times and eventually develops into a tragedy.
It is the first film that won the Golden Palm Prize in mainland China. It has been keeping the highest-grossing record of Chinese melodrama movies in America which also marks the climax of Chinese films in America. Meanwhile, it also got great box-office successes in such countries as Japan, Germany, Korean, France and so on. It should be concluded that Farewell My Concubine has achieved great success both in the art and business.
In Farewell My Concubine, Beijing Opera art is the central cultural element. It is a typical representative of classical Chinese literature art. Taking it as a case study, general and concrete subtitle translation strategies can be concluded to improve translation quality of similar subtitle translation works.

1.3 Brief Introduction to translator Linda Javin

Linda Javin, the subtitle translator of Farewell My Concubine, is a suitable and qualified person for both the director and the audiences. Since 1976, Linda has been playing an important and active role in broadcasting, studying and exploring Chinese culture. As an internationally renowned sinologist, translator and writer, Linda Javin has made great efforts in learning, feeling and appreciating Chinese culture. It is really a tough time full of difficulties and hardships under the specific social conditions then. After years of efforts to learn Chinese language, history, literature and many visits to China, Linda has begun to embark on her Chinese literary writing career recently. All these can prove that she is really a competent and qualified subtitle translator of Farewell My Concubine. Her wonderful bi-lingual and bi-cultural competence does give her favorable advantages in translating.

=== Analysis the Translation of Culture-loaded Words ===

2.1 Introduction to Culture-loaded Words

Gonzalez Davies and Scott-Tennent (2008, p.783) put forward a definition of cultural references in detail, which is "expressions (audiovisual, verbal, textual,
non-verbal) that are concerned with ecological, material, religious, social, emotional, and linguistic manifestation. In addition, these expressions are specific to a particular community, and they are recognized as a particular feature of that community. Such expressions, however, may lead to difficulties in comprehending these words or translating these words." And in China, a scholar defines it as "the words, phrases and idioms that mark the unique things in a culture." These words reflect the unique way of activities gradually accumulated by a specific nation in the long historical process, which is different from other nations.（Liao, 2000: 232）

It is more diverse to classify Culture-loaded words because China is an ancient national with a history of more than 5,000 years. In this course, many Culture-loaded words have accumulated continuously. Among all the materials, some scholars divide Culture-loaded words based on specific elements such as language and culture. Since different scholars hold different views on the classification of Culture-loaded words, and hence the fist can go on and on. Here is a well-accepted way by Nida. Nida (1945, p.196) divided language and cultural characteristics into five categories:(1)Ecological culture; (2)Material culture; (3)Social Culture; (4)Religious Culture; (5)Linguistic Culture.

2.2 The Features of Subtitles in Farewell My Concubine

Through comparison and analysis, the main language features of the Chinese lines of Farewell My Concubine are concluded as below: concise but emotional dialogue; strong Beijing Opera and Beijing dialect flavor; sharp but implicative expressions; rich of slang and idioms. All the features are drawn from the corresponding lines in the film and all these analysis in the language following features will be illustrated combining with the specific case interpretation. Thus, different translation strategies at different levels can be generalized and concluded to cater for the different language features.

The film takes place in Beijing and is thus featured with rich local color. The most obvious feature is the use of Beijing dialect. Beijing dialect is the basis of standard Mandarin, but there are some differences that make it easy for Chinese people to recognize which is which. Most prominent difference in phonology is the proliferation of rhotic vowels which results from the non suffix “儿” in vocabulary, Beijing dialect has a lot of words that are considered slangy and therefore occur much less or not at all in standard Mandarin. Some non-Beijing natives find it hard to understand what most of them mean, let alone foreigners. A dialect tells about the user's social class, status, profession, and many more. That is why so many translators are taking pains.

Beijing Opera is exactly a colorful part of the film has depicted. Beijing Opera was formed during the period of Daoguang(1821-1850). At the beginning, actors from Chu Opera such as Wang Honggui and Li Liu came to Beijing to perform in the Drama of Hui School. Later, combined with Erhuang melodies and Xipi melodies, in the same time, actors also absorbed the advantages of Kun, Beijing and Qin tunes from their respective schools. Beijing dialects were adapted to adapt to Beijing customs. Thus, it took shape initially. Gradually Beijing Opera developed into the most influential opera in the country. The characters in the whole film have a strong Beijing accent, and many opera excerpts in the film such as Farewell My Concubine, Peony Pavilion and Drunken Imperial Concubine are presented for many times. So it is inevitable to translate many professional terms.

2.3 Cases for Analysis

2.3.1 Brief Introduction to Translation Strategies

Before the specific analysis, let's have a understanding of two basic concepts of domestication and foreignization, which are important strategies in translating culture-loaded words.

The translation theory of domestication and foreignization was first put forward by Schleier Macher, a famous German translation theorist. In his book published in 1813, he put forward that there are only two ways of Translation: one is to guide the readers to get to know the author as much as possible; the other is to guide the author to get to know the readers as much as possible. In 1995, Lawrence Venuti, an American Italian translator, wrote in his important work The Translator's Invisibility, the first method described by Schleier Macher is called "foreignizing method" and the second method is called "domesticating method". That is to say, domestication is oriented by target language, while foreignization is oriented by source language.

As for Linda Javin, she once mentioned in an interview that in the face of the cultural essences in the lines, she adhered to the strategy of domestication in her translation and did not deliberately maintain the oriental flavor contained in the dialogue. Frankly speaking, she doesn't appreciate the way of retaining Pinyin combinations and then adding a lot of notes to make foreigners understood. If Chinese is pleasant to the ear, don't let the expression heard awkwardly in English. So the simplicity and directness are put above everything else to make it easy for the audience to understand.

2.3.2 Cases of Translation Methods

2.3.2.1 Literal Translation

As one of the common methods of translating culture loaded words, literal translation is to translate the source text according to the literal order or meaning, which can retain the original characteristics of Chinese language and culture.

E.g.1世卿世受国恩

岂敢昧法？

更不敢当众违背天理良心。

The government has always been good to me,

I wouldn't dare deceive the court.

Nor would I betray the laws of Heaven or my own conscience.

“天理”“良心” are terms that are quite commonly-used words in China. From literal works to daily talks, from traditional plays to modern films, such kind of expressions are useful guidelines to arouse Chinese People's self-reflection. They are invisible ethical rules guiding people's behaviors. Since they are so local and traditional, it's not surprising that it is a little complicated for foreign audiences to figure them out. Based on the "literal translation" principle, Linda brings "Heaven" into her translation. In Christian culture, "Heaven" serves as the source of various moral concepts and systems. "Heaven" and "God" are existed to guide and restrict people's behaviors. Linda's translation has wonderfully adapted to the target eco-environment and is really worthy of referencing of the subtitling workers and learners.

E.g.2磨剪子来，镪菜刀

Bring your knives for sharpening? Sharpen your knives.

Sharpening knives is a traditional craftsmanship that is disappearing in China. Their dreich yo-heave-ho can evoke many people's memories of childhood. Such lively lines full of traditional Chinese cultural elements, on the one hand, are not so easy to translate; on the other hand, deserve more efforts for the foreign audiences to figure out. Considering all these factors, Linda pays attention to the retaining of its central meaning. Actually, a more literal translation method "Sharpen your scissors, sharpen your knives" may achieve more active functions here. It's the easiest to understand, and it can save viewing and thinking time as well. As for some complicated cultural terms, the best way, the easiest as well, maybe literal translation, which can avoid misunderstanding and superfluous deducing. Finally, they benefit a lot to saving viewing time.

E.g.3什么时候洞房花烛夜啊？

What’s the time of Candle-lit-night in the Bridal Chamber?

“洞房花烛夜” is a typical expression in ancient times of China, which means the golden night of the new husband and new wife on the day they get married. The night usually is beautiful and memorable and it is the first night the new couple. As for this line, Linda did not specifically explain what is the “洞房花烛夜” , instead she use the literal meaning to depict a picture of the special night, translating “花烛夜” to “Candle-lit-night”, which is so warm and beautiful.

E.g.4横扫一切牛鬼蛇神！

Sweep away all Cow Demons and Snake Spirits!

There is an article titled “Sweep away all Cow Demons and Snake Spirits!” published on the People's Daily on June 1, 1966, which marked the climax of the Proletarian Cultural Revolution. The "Cow Demons and Snake Spirits" represents the old ideas, cultures, customs and habits that have poisoned Chinese people for thousands of years. Under the call of the Party Central Committee and Chairman Mao Zedong, hundreds of millions of workers, peasants and soldiers, revolutionary cadres and intellectuals, swept away a large number old things entrenched in the ideological and cultural position. Its momentum is like a storm, with extraordinary rapidity, breaking the spiritual shackles imposed on them by the exploiting class. Using “Cow Demons” to express “牛鬼”, “Snake Spirits” to express “蛇神” is direct, clear and distinct.

2.3.2.2 Free Translation

Free translation is the translation by meanings. That is to say, the translation is done according to the real meanings of a sentence or even a paragraph, instead of completely word to word.

E.g.1他祖师爷不肯赏饭吃，谁也没辙。

But I have no place for him. What can I do?

“祖师爷” is similar to "forefathers" to some extent in China's history. Without knowledge of the specific historical period, foreign audiences won't understand its exact meaning. Perhaps we can understand it as "destiny" "fate" or "god" of western culture, there are still cultural differences between them. From the plots in the film, we know that Mater does not want to accept Little Bean as his disciple, so he explains that Little Bean is not destined to be an actor. From this perspective, "destiny" is the most ideal choice to express the original meaning. Considering all these factors, Linda uses the strategy of "free translation" to put it as "I have no place for him" to refuse Little Bean's mother. Thus, she makes the lines easier to understand, and meanwhile, to avoid leading to a cultural misunderstanding.

E.g.2今儿个是破题儿，文章还在后头哪！

This is just the beginning. Wait till you see what's in store.

“破题” once appeared in "Romance of the Western Chamber” by Wang Shipu, a playwright of Yuan Dynasty. Since then, it has been widely used in various circumstances to refer to "the first time". From the translated version, it's clear that the translation of “破题” as "beginning" exhibits that the subtitle translator, Linda Javin, is quite familiar with the usage of the old Chinese words.

E.g.3真他妈想当太太奶奶啦你！

做你娘的玻璃梦去吧。

你当出了这门，把脸一抹擦，你还真成了良人了？

So you want to become a rich man's wife!

Go live out this goddamn fantasy' then

Don't think that when you walk out this door, you'll become a lady of virtue.

“太太奶奶” has different meanings in China in different social contexts. Without thinking or checking it, it's easy to translate it as "grandmother" "lady" or something like these. Besides, “良” means "good, kind", but here, “良人” doesn't mean "a good, kind or nice-hearted person", instead, it refers to the woman who has abandoned prostitution and become a traditional honest and good woman. Linda's translation of "a lady of virtue" is quite authentic and loyal to the original text.

E.g.4那么日后踏雪访梅，再谈不迟。

Ah, then we shall exchange poetic thoughts some other day.

“踏雪访梅” extracted from Night Vessel, written by Zhang Dai of Ming Dynasty. Originally, it's used to refer to describe the enjoyment with the beautiful scenery and the pursuit for wonderful poems of the ancient poets. In Farewell My Concubine, Mr Yuan invites Xiaolou and Dieyi to his house to have some wine and chat about certain details of the opera. The latter example is also full of cultural terms, which is said by Nakun when he tries to encourage Dieyi to talk with Xiaolou hurriedly and actively. In both examples, Linda deals with the cultural elements skillfully and flexibly.

E.g.4这武二郎碰上西门庆，不打，不打能成吗？

You know the old story about Pan Jinlian's husband meeting the man who screwed her? Did he have any choice but to fight?

It's an old story about Pan Jinlian and his husband in ancient China. When performing translation, a translator needs to place the specific written text under some relative social and cultural backgrounds. This is useful and meaningful for a better and comprehensive expression of the original meaning. The story of “武二郎”“西门庆” is typically traditional Chinese cultural element, the translated text can't be formed without relative culture knowledge. For some literary allusion, stating its general meaning to offer a general idea is very helpful for the audience to grasp the central meaning.

E.g.5这妞够厉害的呀！

What a dragon lady!

Different cultures have different cultural prototypes. Dragon is a propitious symbol in China. As a Chinese totem, all Chinese people see themselves as the grandsons of the dragons. It's a positive and lucky symbol for Chinese people. However, because of the cultural differences, the "dragon" in Western countries means more evil than good. Its fierceness and grisly outlooks make people feel uncomfortable. Thus, "a dragon lady" here, on the one hand, can show Ju Xian's courage for true love; on the other hand, the image of "dragon" can clearly show to the foreign audiences that Ju Xian is at the bottom of the society and she is despised by the social group. Linda's choice of "dragon" clearly shows her comprehensive consideration for the complicated circumstance then.

E.g.6关师父：各位爷，多捧场了啊!

Master Guan: Ladies and gentlemen, enjoy the show!

“各位爷” is a conventional Chinese way to address the male spectators with respect. However, in English, there is no such a counterpart. Therefore, the translator substitutes it with "Ladies and gentlemen", a conventional way to address the audience of a performance in English. “多捧场了啊” is also conventional in indicating the beginning of a show and literally means "support our show". However, the English convention has it as "enjoy the show." The translator thus conforms to target conventions to avoid deviation from audience's "expectancy norms" which are established by the native text in the receiver target of the translation, by their expectations of what a target language should be like.

E.g.7小石头：嗬，够横的你。

Shitou: You are really something.

“横” in Beijing dialect means harsh and unreasonable, "Be (quite or really) something" is an informal expression referring to a person or a thing is of consequence. In the above example, the replacement of “横” by "be really something" shows that Shitou is impressed by Douzi's arrogance and reveals Shitou's generous nature. Although his kindness to offer a sleep place to Douzi is unappreciated, Shitou does not say something harsh. If it is translated into "You're unreasonable", it would be too straightforward.

2.3.2.3 Generalization

Generalization is defined as the type of modulation in which the dissimilarity between source text and target text transemes is characterized by a shift towards greater generality in target text; as such it contrasts with the opposite phenomenon of specification. Generalization is acceptable if target text has no suitable alternative, or if the omited detail may be gleaned from the target text context or is just not important.

E.g.1不罚，不罚你永远是下三滥。

还想成角？做梦。

And if I don't punish you, you'll always be third-rate.

You want to be a great actor? Dream on!

“下三滥” is a traditional Chinese expression that describes some impuissant and footling people in the lower class status in China. To avoid misunderstanding of it, Linda just translates it as "the third rate", simply and concisely. As for “角”, it's a technical term specially used in dramatic performance referring to leading roles in dramas. But “成角” here means becoming a famous actor or actress. Linda's translation retains the most important and essential meaning.

E.g.2依我看，只要是唱西皮二黄，它就是京戏。

I say if it uses the traditional forms, then it’s the Beijing Opera.

"Xipi Erhuang" is a professional term in drama. "Xipi" and "Erhuang" refer to two different vocal cavities respectively. Xipi originated from Qin opera. Its singing is lively and high pitched, generally being used to express cheerful and excited feelings. Erhuang comes from Anhui. The tone of Erhuang is more stable and serious. In the development of drama, Xipi and Erhuang went through a process of slow integration. If the translator transliterates the tones of "Xipi" and "Erhuang" respectively in the subtitles, on the one hand, the audience without the knowledge of Peking Opera can not understand it completely; on the other hand, the subtitles have space limitations, and the letter translation should not be too long. Here, Linda generally translates it as "the traditional forms" to give the audience an abstract understanding.

E.g.3反正这两杯子也沾上了四旧了

Anyway, jade cups were part of the old society

With abundant political background, on August 8th, 1966, as the film mentioned “in the era of Communist revolution, the on-going Great Proletarian Cultural Revolution will be a revolution that reconstructs people’s mind”. "四旧" as a derogatory word, refers to the collective name and general designation of old ideas, including old culture, old customs and old habits. For a time, streets, factories, communes, time-honored stores and schools were changed into revolutionary names such as "Anti-road Construction", "Dongfeng Store" and "Red Guard War School" , destroying the authority of "bourgeois reactionary academic authorities" such as scholars, writers, artists and scientists. Violence became commonly seen in the streets. Instead of illustrating what is “四旧”, Linda chose “old society” to generally express the real social situation at that time, almost everything should be put out the label of “old, bad” to be accused and criticized.

E.g.4尘世中，男子阳污，女子阴秽

There is foulness in both men and women.

This sentence comes from the mouth of Mr Yuan, a drama addict. The word "尘世" is unique to Chinese. It is used by Buddhists or Taoists to refer to the world, with a deep religious color. However, the main religious belief in western countries is Christianity, and "尘世" has no corresponding word in English. In this sentence, Linda translated the sentence into existential sentence, which is a good way to generalize the meaning of the word. In fact, this sentence means that in the eyes of people who believe in Buddhism or Taoism, men and women on earth are all dirty. If the translator rigidly corresponds "阳污" to "man" and "阴秽" to "woman", the translation will only overlap meaning, resulting the translation not authentic.

E.g.5来给师哥勾勾脸

Will you give me a hand with my make up?

The facial makeup in Peking Opera is a special makeup method. The traditional facial makeup mainly refers to clean facial painting. "勾脸" is one of its painting techniques. In order to let the audience clearly understand the meaning of dialogue, it is literally and generally translated as "make up".

2.3.2.4 Specification

Specification is distinguished from the other type, generalization, in that here the shift which occurs between source text and target text in the direction of a higher level of explicitness. In other words, a shift towards greater specification will produce a transeme the meaning of which is made more precisely, by either the addition of extra words or the use of words with a less general meaning.

E.g.1别介，都是下九流谁嫌弃谁啊

Don’t be foolish. Prostitutes and actors are equally despised by society.

The mother (prostitute) of the little boy (Cheng Dieyi) took him to the troupe and hoped that the master would accept him. After seeing the little boy's sixth finger, the master said he had no gift to sing. So the mother knelt down (sexually) and hinted that the master would benefit as long as he accepted the disciple. So the master said this sentence. There is a saying of "三教九流" in ancient China. The three religions here refer to Confucianism, Taoism and Buddhism. The nine religions are divided into upper, middle and lower levels. The translator does not directly translate the "inferior" but translates the contents of the reference, which not only makes the meaning more thorough, but also does not increase the viewing obstacles of the audience.

E.g.2小爷我今儿练的是九转金炉的火丹功。

I have been practicing Kungfu to keep myself warm.

When dealing with those terms with strong cultural meanings, it's proper and wise to conclude some specific tiny terms into a general broader concept. As a result, the translator can save efforts; the audiences can get the general meaning without being entangled in those unimportant tiny details. Kungfu in the translated text, though fails to express the original Taoist cultural meanings, it really saves much screen space and viewing time, thus, it's easier for foreign audiences to understand.

2.3.2.5 Omission

Being opposed to "addition", omission means that some words in the original text do not need to be translated, because although there are no specific words in the translation, potential meaning has been shown. In other words, omission is to delete some unnecessary words, or words that are cumbersome or contrary to the language habits of the translation. But omission does not delete any ideological content of the original text.

E.g.1各位爷都站好甭动。真钱买真货。我小石头今儿个玩儿真的,让爷儿们都开开眼。

I'll give you something to look at.

This scene describes Little Stone and his partners was performing in the street to earn money, but no one gives a reward. In order to attract the audience, Little Stone decided to perform a wonderful show. He decided to hit his head with a brick, so he said the above lines. Because the morpheme of the actor is fast, the picture switches to that he hits his head with a brick as soon as the voice falls, so the translator uses a short sentence to express it. This not only does not affect the audience's viewing of the wonderful picture, but also completely expresses the semantics.

E.g.2他这一亮相,那台底下听戏的人不都吓跑了。

He would scare off the audience

This line is what Master Guan said to Little Bean's mother when he found an extra finger on Little Bean's right hand. While speaking this line, Master Guan stretched out his right hand and made an appearance of being on the stage. Therefore, if the translation of "his appearance" is omitted, this meaningless information vocabulary can be deleted naturally, which does not affect the audience's understanding of the plot at that time, also does not deviate from the meaning of the original lines, and will not cause the audience's confusion. It is a good way to accurately convey the information and let the audience understand the content of the film.

E.g.3陈:唉，袁四爷今儿个来看戏

段:没见我盖着唢呐唱吗？把血都挣出来了

Chen: So, Master Yuan has come to see us tonight.

Duan: I know. I sang so loudly I drowned out the horns.

“今儿个” is a typical time indicator in Beijing dialect. It usually refers to "today". In view of the context, it can also be translated as "tonight". In translating Duan's response, the translator tries to relay its meaning than to represent its form. She omits “把血都挣出来了”，also a typical dialectal expression, which literally means "drive the blood out" and "do very hard" in the real sense. "I sang so loudly" is added to facilitate understanding. The translator also makes efforts to find the most understandable way from the target culture.

===Conclusion ===
3.1 The Conclusion

In terms of translator, translator needs to be super proficient in Chinese and English. In terms of translation strategies, domestication and foreignization are unity of opposites and complement each other, so there is no absolute and pure domestication and foreignization. The translator, the recreator of dialogues in the process of translation, should choose the most appropriate translation strategy to reconstruct the meaning of the original text. In terms of translation methods, when translating the culture-loaded words, Linda Jaivin mainly adopted literal translation, free translation, specification, generalization and omission to nearly successfully preserve and convey the essence in Beijing dialect and Beijing Opera in China.

3.2 Advice

Due to the cultural differences behind translation, some films cannot achieve the same effect abroad as at home. It is true that the two important purposes of subtitle translation are to provide the audience with plot information and to convey the cultural connotation contained in the film. Plot information is the premise of cultural connotation. If the audience of target language cannot understand the plot, it is difficult to achieve cultural communication. Therefore, in the face of handling with culture-loaded words in subtitles, the translator should focus on the purpose of information, put letting the audience understand the film content above everything else, and then give consideration to the cultural purpose.

The subtitle translation in Farewell my concubine mainly adopts the domestication strategy rather than foreignization. Truly speaking, foreignization can retain the cultural characteristics of the original language in translation, making the readers of the target language feel the exotic customs and the unique charm of the source culture. Foreignization could be taken as a means of resistance to the cultural colonial policy of the strong culture, break its "domestication" and strive for winning a place for the weak culture in the forest of global culture. Therefore, there is still a long way for Chinese translators to spread Chinese culture to the countries abroad.

===References ===
Xiao Xiang. The Transmission of Peking Opera Culture in the English Subtitle Translation of Farewell, My Concubine[J]. Frontiers in Educational Research, 2020, 3.0(13.0)

Nan Wan. Subtitling and its Acceptability in the Film Farewell, My Concubine: A Multimodal Approach[J]. Advances in Language and Literary Studies, 2019, 10(6) : 94.

Zhang Kaijuan张凯娟. 电影字幕翻译中的语域对等研究[D].西南大学,2019.

[4]徐敏. 电影《霸王别姬》的汉英影视字幕翻译评析[D].浙江工商大学,2014.

[5]金海娜.从《霸王别姬》到《一代宗师》———电影译者Linda Jaivin访谈录［J］.中国翻译，2013，34（04）.

[6]杜阿晴.目的论视角下电影字幕中文化负载词的翻译——以电影《霸王别姬》《风月》为例[J].福建教育学院学报,2013,14(04):94-97.

=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =
[[Cult_Load_Words_EN_2]]

谢庆琳 Xie Qinglin, Hunan Normal University, China

=== Abstract ===

Language is a product of culture, an integral part of it and a condition of its existence, and an important factor in the formation of cultural codes. Since the 21st century, linguistics has actively studied a direction that sees language as a code for understanding the culture of a nation, not just as a tool for communication and cognition. As we all know, there are certain cultural differences among various ethnic groups influenced by factors such as geographical environment, political system, religious beliefs, living habits, moral values and aesthetic interests. These factors together contribute to the creation of culture-loaded words. The translation of culture-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture while faithfully conveying the essence and soul of the translated culture to the readers of the translated language to truly communicate with different cultures. The translation of culture-loaded words directly affects the understanding of readers of the translated work, and also influences the readability and literary quality of the work. The study of Chinese translation of Russian culture-loaded words from the perspective of cultural load words not only promotes the communication between Chinese and Russian languages, but also deepens the cultural understanding between Chinese and Russian people.

=== Key Words ===
Russian Culture-loaded Words; Translation Principles; Translation Strategies

=== 题目分析俄语文化负载词的中文翻译 ===

=== 摘要 ===

语言是文化的产物，是文化的组成部分和存在条件，也是文化密码形成的一个重要因素。 21世纪以来，语言学积极研究一个方向，即把语言看作是了解一个民族文化的密码，而不仅仅是一个交流和认知的工具。众所周知，各民族受地理环境、政治制度、宗教信仰、生活习惯、道德价值、审美情趣等因素影响，其间存在一定的文化差异。这些因素共同促使了文化负载词的产生。文化负载词的翻译要求译者准确恰当地理解异国文化中的信仰、习俗、审美及价值观等的同时，忠实地将译语文化的精髓与灵魂传递到译语读者面前，真正做到不同文化的交流。对文化负载词的翻译会直接影响译文读者对作品的理解，也影响着作品的可读性及文学性。从文化负载词的角度来研究俄语文化负载词的中译不仅推动中俄两国语言的沟通，同时对加深中俄人民之间的文化理解也具有重要意义。

=== 关键词 ===
俄语文化负载词；翻译原则；翻译策略

=== Introduction ===

After the 1970s, cultural factors were gradually incorporated into the scope of linguists' studies, and cultural studies became a topic of common concern for linguists and translators. Susan Bassnett (1990), the core representative of the cultural translation concept, believes that translation is an exchange between cultures, and the reciprocity of translation should not only realize the reciprocity of language forms, but also pursue the reciprocity of cultural functions between the original text and the translated text. Therefore, translation is not only an act of purely linguistic conversion, but also a reflection of the cultural meaning of language. Language is a means of communication of human thoughts and feelings, and it is both a carrier and an important part of culture. In the process of historical development, countries around the world have formed large or small cultural differences due to different geographical environments, political rule, religious beliefs, traditional customs, lifestyles, value orientations and aesthetic interests. These factors have together contributed to the creation of a large number of cultural-loaded words. Each language has its own cultural vocabulary with cultural color and connotation, and these words reflect the cultural values of each nation. Because they are loaded with special national cultural connotations, cultural-loaded words often constitute the focus and difficulty of translation as an act of intercultural communication, and even become a barrier to the transmission of information.

Guided by American translator and translation theorist Eugene Nida's theory of functional equivalence, this paper takes the Russian as an example to explore the cultural information carried by the cultural-loaded words in its subtitles and summarize its translation method. The translation of cultural-loaded words requires the translator to accurately and appropriately understand the beliefs, customs, aesthetics and values of the foreign culture, while faithfully transmitting the essence and soul of the translated culture to the readers of the translated language, so as to truly communicate with different cultures. The study of Chinese subtitles of Russian TV series from the perspective of cultural-load words not only promotes the communication between Chinese and Russian languages, but also has great significance in deepening the cultural understanding between Chinese and Russian people.

The paper consists of an introduction, three chapters and concluding remarks. The introductory part firstly describes the feasibility, theoretical significance and practical significance of this research, and then clarifies the novelty of this research. The first chapter briefly outlines the concept of cultural-loaded words, and classifies cultural-loaded words according to Eugene Nida's functional equivalence theory, laying the foundation for the translation study of cultural-loaded words later on. Chapter 2 analyzes in detail the cultural-loaded words appearing in “Intern”, and discusses the translation principles and translation strategies of cultural-loaded words. The third chapter analyzes the causes of mistranslation and difficult-to-understand cultural-loaded words in “Intern”. The concluding remarks summarize the content of the whole text.

=== Culture-loaded Words ===

==== Definition of Culture-loaded Words ====

Culture-loaded words are also called culturally connotative words. In the language system, culture-loaded words are the vocabulary which can best embody the cultural information that a language carries and they also reflect the social life.

Behind each vocabulary are deeply imprinted the cultural, geographical and historical characteristics of a society. Vocabulary is the basic element of language,and the formation of each vocabulary is inseparable from culture. It carries a largeamount of "national cultural accumulation", that is, cultural connotation. This article is an analysis of Russian cultural-loaded words, reflecting mostly about the Russian national culture.

Language is the carrier of culture, so cultural differences must also be reflected in language. Translation means the spread of culture, and words that carry culture are words that express culture. Therefore, the translator focuses on the cultural-loaded words that appear in the source text, and on this basis. The words containing language and culture reflect the development, progress and change of the language of a country's dynasties, as well as the accumulation of various activities that are completely different from other countries (Liao, 2002). Translating social cultural terms and ecological cultural terms can truly understand the living conditions and social conditions of a country in a specific period.

==== Classification of Culture-loaded Words ====

According to Naida's classification of cultural factors, cultural load words are divided into five categories: the first category is ecological cultural load words, which usually refer to words related to plants, animals, climate, etc. of a specific region, for example, a small twisting path is not used in the Russian language environment, such as “羊肠小径”. The second category is material cultural load words. For example, “轿子” refers to a human-powered means of transportation in feudal China, which does not exist in Western countries. The third category is the social cultural load words, which usually involve words of social etiquette, social identity and leisure, such as kneel three times and kowtow nine, the dragon boat festiva, which are unique to Chinese culture and tradition. The fourth category is religious cultural load words, which are generally words reflecting the cultural beliefs of a certain nationality, such as “八字”(horoscopes), “算命先生”(fortune-teller), and so on. The fifth category is language-based cultural load words, which reflect the different ways of speaking and habits of different ethnic groups in terms of phonetics, vocabulary, syntax and so on. For example, the name of a person, the use of idioms, and so on.

=== Translation Principles and Strategies of Russian Culture-loaded Words ===

==== Translation Principles of Russian Culture-loaded Words ====

===== The Principle of Faithfulness to the Original Text =====

Fidelity to the original text is one of the most basic principles and standards of translation. When translating cultural-loaded words, two points should be clear: on the one hand, we can not add some cultural meanings in the translation process based on our own conjecture. On the one hand, it is not possible to attach some cultural meanings to the translation process that are not intended by the author of the original text. For example, the Russian word for rabbit (заяц) has a negative cultural symbolism and is considered to be a symbol of evil and cowardice, while
In the passage of «Судьба Человека»: "… а я уже на ничьей земле между воронками петляю не хуже зайца" (李世俊，张永全等: 1999), a soldier tells how he bravely and wisely crossed the German lines. The rabbit is used here only to borrow the positive image of its quick and dexterous movements, not the cultural symbolism described above.
If we do not take into account the author's real intention and turn it into "no less than a timid rabbit", we are not being faithful to the original text, but rather making a faux pas. Therefore, this sentence
should be translated as "I have reached the middle of the field, and I am not less dexterous than a rabbit in going around in the middle of the crater."

On the other hand, it is important to translate the cultural meaning of the culturally loaded words that are crucial or important to the understanding of the text, as it is easy to misunderstand if only the surface meaning is translated. For example, “сушить сухарь” literally means toast a thousand, but in fact it means to prepare dry food for exile on the road, and now it often refers to eating lawsuits. If there is a scene in Chinese literature where the crane is used to celebrate a long life, it must be translated into Russian with the meaning of longevity in Chinese culture, otherwise the Russians will find it inexplicable.

===== Contextual Principal =====

The meaning of words is often multi-layered and multi-faceted, and translators should judge the meaning of specific words according to the context. Therefore, context is the key to determining the true meaning of a word in a specific context and to help the translator correctly translate the original text.

The following are three situations to determine the specific meaning: (1) Words that often have cultural meaning and represent cultural images may not have culturally loaded meaning in a certain context. (2) The same culturally loaded word may have a different cultural meaning in a specific context. For example, the Russian word “ медведь” sometimes means "powerful" and sometimes means "heavy". Sometimes it refers to the strength of the bear, sometimes it refers to the stupidity of the bear, and sometimes it also refers to the maidenhead. Therefore, it is more important to determine the exact meaning according to the context when translating. (3) Common words may become cultural-loaded in specific contexts. (3) Common words may become cultural-loaded words in specific contexts.

===== Principle of Appropriateness of Explicit and Implicit =====

The cultural-loaded word serves the text with its cultural meaning, so the translation should be either explicit or implicit according to the needs of the text, to keep the text simple and fluent. For example, due to the limitation of space or style
For example, in Russian,“кричать во всю Ивановскую” literally means "shouting at Ivan Square" because in the Tsarist era, decrees and orders were issued on Ivan Square, and people often had to shout to hear them. Therefore, it is not necessary to turn out the meaning of the cultural load when translating into foreign languages, and it can be directly translated as shouting. However, if the translator intends to introduce this historical and cultural phenomenon, it is a different story. In short, the translation of cultural-loaded words should serve the whole text, and be consistent with the context and the author's style, and the translator's purpose.

==== Translation Strategies of Russian Culture-loaded Words ====

Translation principles are macro requirements for the translation process, while in the actual translation process, in order to achieve good translation, in addition to following these principles, we must also adopt necessary translation strategies according to the specific characteristics of the vocabulary. The complexity and specificity of cultural factors determine the variability of the meaning and form of culturally loaded terms, as well as the flexibility and adaptability of their translation means. Generally speaking, in order to achieve good translation effect, translators often use such translation strategies as "direct translation (phonetic translation) plus annotation", "direct translation with free translation" and "free translation" for cultural-loaded words and so on.

====== Direct Translation (Phonetic Translation) plus Annotation ======

The direct translation mainly refers to the translation that retains the original language form completely, so that it is similar to the original text. The method of translation is similar to the original text and has the same structure. Since this method mainly focuses on the linguistic form of the original text, sometimes the translation cannot fully and accurately express the original text.Sometimes the translation cannot fully express the original language accurately, then the translator can adopt the method of adding. In this case, the translator can adopt the method of adding notes to offset the loss of meaning brought by this translation strategy. Cultural-loaded words contain a large number of national-specific words, such as various proper nouns, historical allusions and these words have no direct counterparts in the translated language. Therefore, it is often necessary to translate them by the strategy of phonetic translation with annotation. For example, many literary works use phonetic translation of the Russian national costume “сарафан”, which is translated as "Sarah
A" with a note stating that the sarafan is a traditional Russian folk dress without sleeves.

====== Direct Translation with Free Translation ======

Direct translation with paraphrase is a translation method that combines direct translation and translation with meaning, which not only translates the surface meaning of the original text word by word, but also translates the potential meaning beyond the surface meaning of the original text. The direct translation is a method of translating not only the surface meaning of the original text word by word, but also the potential meaning beyond the surface meaning. For the translation of cultural-loaded words, the combination of direct translation and literal translation can better reveal their true meanings in terms of both form and content. The Russian word "колосс на глиняных ногах" from the «Old Testament»It is about the dream of Nebuchadnezzar, the king of Babylon, who saw a giant statue of a terrible shape, whose feet were half clay and half iron, and the whole statue collapsed due to a stone that happened to hit his feet from the mountain. This dream symbolized the doomed kingdom of Nebuchadnezzar. Thus, the cultural meaning of "giant with feet of clay" refers to a country that is outwardly strong but actually weak and destined to perish. Thus, Lenin said in his speech on November 7, 1919, at the conference commemorating the second anniversary of the October Revolution: "Мы видим, что империализм, который казался таким непреодолимым колосом, казался на глазах у всех колоссом на глиняных ногах." (刘永红：2002) The whole sentence should be translated as "We see that imperialism, which looks like a giant that cannot be served, is actually a giant in the mud with a strong exterior in the eyes of everyone.

===== Free Translation =====

The free translation strategy emphasizes the meaning conveyed to the original language words in specific contexts. The first thing is to translate the meaning of the original, not necessarily to preserve the original form, not to achieve the same literal and structural translation as the original. The translation is suitable for the translation of the cultural load words whose cultural meaning does not play a major role in the original text, or the cultural load words whose cultural image is too remote, sometimes also subject to the limitations of the manuscript and style and use this method, a cultural load words, such as culturally significant sayings, proverbs, because for a long time Ba Jing has a conventional translation of foreign, so in the translation can also be used when the original translation method. For example, "китайская грамота" literally means "Chinese word", "Chinese character", but because of the big difference between Russian and Chinese, it is very difficult for Russians to understand Chinese characters, so here it is translated as "heavenly book, incomprehensible, inexplicable thing". “Для него это китайская грамота” translates as "He doesn't know anything about it".

=== The Translation Difficulties of Russian Culture-loaded Words ===

==== Translatability of Culture-loaded Words in Russian ====

Language is the most important tool for human communication and one of the important carriers of information. The cultural characteristics of a nation's way of thinking, concepts, and systems are bound to leave their mark on language. Vocabulary is one of the most active dimensions of language. Changes in social life, the development of national culture and other changes can be recorded through vocabulary. Culture-loaded words are those words, phrases and idioms that mark things specific to a certain culture, and these words reflect the unique way of activity of a particular people that has gradually accumulated over a long historical process and is distinct from other peoples. Although translation is a transformation of symbols in its manifestation, in its essence it is a cultural exchange activity. The difficulty of translation is not the language itself, but how to convey the cultural content of the original language. The Russian cultural load is an important external expression of Russian culture, which is difficult to find in other national languages, but this does not mean that the cultural load is untranslatable. Firstly, although the differences between languages of different nationalities are determined by their respective nationalities, the similarity of human living conditions and physiological structure determines the similarity of human thinking patterns, therefore, different nationalities have similarities in understanding and understanding things; secondly, translation activities have a long history, and there are numerous cases of translators overcoming cultural gaps and achieving successful translations in the rich translation practice, therefore, the translatability of culture- loaded words is proven by a large number of translation practices. Thus, translators can still use their dynamism in a limited space to preserve and convey the cultural elements contained in the culture-loaded words in Russian.

==== Factors Affecting the Translation of Culture-loaded Words in Russian ====

The first is the internal factor, i.e., the internal factor of language. In his book «Language and Translation», Balhudarov divides the translation unit into six levels: phonemic level, grapheme level, word level, phrase level, sentence level, and discourse level, in an effort to make the original text and the translated text equivalent. After the 1980s, translation research has taken a new direction - the cultural theory of translation, and Susan Basnett, as one of the representatives of this school, believes that translation should take culture as the basic unit of translation, instead of resting on the previous parts of speech. The original text is the most real and objective existence in translation, and the characteristics of the translation object itself will also affect the translation, and the culture-loaded words have the characteristics of ethnicity, implication and unaccustomedness. When translating culture-loaded words, translators often encounter two bottlenecks: first, the lack of corresponding vocabulary; second, the lack of equivalent cultural meaning, that is, the same word in different cultural contexts expresses different connotations. In ancient Chinese philosophy, it is important to "look at things and take images", and under the influence of traditional Chinese thinking, Chinese tends to use concrete words to express imaginary concepts. The abstract content is expressed by the concrete image. Take the word "jianghu" as an example. "Jianghu" is another new word with changed connotation and extension, which is composed of the concepts of "river" and "lake". The word "jianghu" lacks its semantic and formal equivalents in Russian, so translators need to adopt a flexible translation approach to interpret the semantic and cultural connotations of the word "jianghu".

Second, external factors, including the translator's own body and the purpose of translation, etc. The translator is the most active factor in the translation activity, and is the doer of the whole translation activity, which must be completed by the translator. There is no shortage of excellent translators in China, most of them are concentrated in the field of English studies. Unlike the English translations of Chinese literary and artistic works, the translators of both film and television dramas and Chinese literary and theoretical works are mostly Russians. Unlike the Chinese translators' approach to Chinese culture, foreign translators, when translating, unlike the Chinese translators' approach to Chinese culture, foreign translators may have less sense of mission and enthusiasm for spreading Chinese culture when they translate from Chinese to foreign languages, and they pay more attention to the reading norms and market acceptance of contemporary readers, so they tend to adopt translation strategies such as paraphrasing and naturalizing to facilitate the understanding of readers of the translated language.

=== Conclusion ===

There is a growing awareness that language is just an international communication tool
and is not restricted to a particular country or nation but as a neutral information medium. This paper analyzed the definition and claasification of culture-loaded words. Then we disscussed the translation principles and strategies of Russian culture-loaded words. Last it discussed the difficulties in the translation of these words, and makes a conclusion that we should use the combination of literal translation and free translation in the translation according to different circumstances.

Translation is a language communicative activity; there are a lot of words with Russian cultural features, so we cannot find the equivalent words to express the same cultural information in the target language. When translating these cultural-loaded words, it needs the help of alienation principles, achieving the conversion between language and cultural information. However, after all, the reader's understanding of Russian culture is limited, so the translator must follow the rules of Russian language and expression, taking the text type, translation factors such as purpose and audience into consideration to acquire the best translation.

To sum up, language, culture and translation are inseparable. Language is also a cultural phenomenon, while culture shapes language. Translation is a tool for exchanging different cultures and human civilizations, and therefore they are closely related. In the process of intercultural communication and translation, culturally loaded words are the main obstacle, but they reveal the cultural characteristics and social customs of a people. Accurate and faithful translation of culture-loaded words plays a crucial role in facilitating cultural exchange. Direct translation and paraphrasing are effective translation strategies to solve the problem of culture-loaded words. Direct translation can help the target language readers understand the translation more easily. It aims to make the target language readers and the source language readers empathize. However, free translation is intended to preserve the cultural style of the source language for the readers. These two approaches may seem to be opposing, but they actually complement each other. It is impossible for a translator to use one translation strategy to complete the translation task, so in translation practice as a translator, he or she should try to make a comprehensive use of the two translation methods to make the translation more relevant and evocative.

=== References ===

Barkhudarov L. S. Language and translation. (1975) Questions of the general and private theory of translation[M]. Moscow: International relations.

Kozhin A. N. (1982) Functional types of Russian speech. [M]. Moscow: Vysshaya shkola.

Rosenthal D.E. (1987) Practical stylistics of Russian language. [M]. Moscow: Vyssnaya shkola.

Fedorov A. V. (2002) Fundamentals of the general theory of translation. [M]. Moscow: High School.

Yuriev A. N. (2005) Types and styles of speech. [M]. Moscow: Almaty.

Chen Guoting 陈国亭 (2012). 俄汉语通用最简翻译指南 [M]. A general minimalist translation guide for Russian and Chinese. 哈尔滨：哈尔滨工业大学出版社 Harbin: Harbin Institute of Technology Press.

Cai Yi et al 蔡毅等 (2006). 俄译汉教程增修本[M]. Russian to Chinese Translation Course Supplement. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.

Huang Ying 黄颖 (2008). 新编俄语语法 [M]. New Russian Grammar. 北京:外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Publishing House.

=3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =

功能主义目的论视角下加里斯奈德对寒山诗的英译研究

罗曦 Luo Xi, Hunan Normal University, China

[[Cult_Load_Words_EN_3]]

=4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong 《九章》许渊冲译本文化负载词的翻译=
[[Cult_Load_Words_EN_4]]

=5 孙雅诗 Study on the translation of culture loaded words under the ecological translation theory——Take the English translation of Dou E Yuan as an example 生态翻译学视域下文化负载词翻译研究——以《窦娥冤》英译本为例 =
[[Cult_Load_Words_EN_5]]

=6 杜莉娜 On the English Translation of Culture-loaded Words in Chinese Tourism Texts from the Perspective of Intercultural Communication—Exemplified by Zhangjiajie=

'''跨文化交际视角下旅游文本中文化负载词的英译研究--以张家界为例'''

杜莉娜 Du Lina, Hunan Normal University, China

[[Cult_Load_Words_EN_6]]

=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =
俄语成语中文化负载词的中文翻译分析

宫博雅 Gong Boya, Hunan Normal University, China

[[Cult_Load_Words_EN_7]]

=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =
[[Cult_Load_Words_EN_8]]

=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =
[[Cult_Load_Words_EN_9]]

=10 丁旋 Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =

[[Cult_Load_Words_EN_10]]

=11 高蜜On the Translation of Culture-loaded Words in ''Lao Can You Ji'' from the Perspective of Cultural Schema Theory 从文化图式理论看《老残游记》中文化负载词的英译=
[[Cult_Load_Words_EN_11]]

=12 殷慧珍 A study on the English Translation of Culture-loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies =

殷慧珍 Yin Huizhen, Hunan Normal University, China

[[Cult_Load_Words_EN_12]]

===Abstract===
Culture-loaded words refer to words with unique cultural connotations, which are powerful tools to promote cultural communication. Due to the great differences between eastern and western cultural backgrounds, the translation of culture-loaded words is a difficult task. Therefore, this essay studies the English translation of Chinese culture-loaded words in ''The Spring Festival'', which is a prose written by Chinese Writer and translator Fang Huawen, introducing many Chinese customs and activities containing Chinese culture-loaded words. According to the Nida’s classification of culture, this essay classifies culture-loaded words into ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. Based on the domestication and foreignization translation strategies proposed by Venuti, this essay analyzes the translation strategies of culture-loaded words in Fang Huawen’s prose ''The Spring Festival'' and its translation, and summarizes the translation of culture-loaded words based on domestication and foreignization strategies.

===Key Words===
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen

===题目===
归化异化策略下方华文《春节》中文化负载词的英译研究

===摘要===
文化负载词是指具有独特文化内涵的词语，是促进文化交流的强有力工具。由于东西方文化背景的巨大差异，文化负载词的翻译是一项艰巨的任务。因此，本文以方华文散文《春节》中的中国文化负载词的英译为研究对象，介绍了许多词汇关于中国习俗活动里蕴含的中国文化负载词。根据奈达的文化分类，本文将文化负载词分为生态文化负载词、物质文化负载词、社会文化负载词、宗教文化负载词和语言文化负载词。本文以韦努蒂提出的归化和异化翻译策略为基础，分析方华文的散文《春节》中文化负载词的翻译策略，总结出基于归化和异化策略的文化负载词翻译方法。

===关键词===
文化负载词《春节》归化与异化翻译策略方华文

===Introduction===
Since the development of China’s reform and opening up, China's economy has improved rapidly. Culture, as a manifestation of the soft power of national development, playing an increasing role in the country. And Chinese culture is becoming more and more popular among foreign readers. As a carrier of culture, book is a powerful tool for cultural communication. Meanwhile, translation is a bridge connected different languages and different cultures and the main task of translation is to translate the content of the source language into the target language. Therefore, in China, more and more books, such as poetry collections, novels, essays and so on, are translated into foreign languages and then widely spread all over the world. However, due to the huge differences in economic system, language structure and cultural customs between China and the West, many culture-loaded words with unique characteristics of the Chinese nation, such as some idioms, sayings and idiomatic expressions, are difficult to translate. Those who do not understand the Chinese cultural background cannot fully understand the meaning of these culture-loaded words. Therefore, the translation of culture-loaded words is key to the whole translation which is well worthy of doing research. ''The Spring Festival'' is a prose written by Fang Huawen, a famous Chinese literary translator. It talks about the Spring Festival, the most important traditional Chinese festival, and gives a detailed description of the activities during this traditional festival. Many culture-loaded words appeared in the prose represent Chinese culture, people can understand the profound Chinese culture through the authentic translation. Based on the translation strategies of domestication and foreignization, this essay explores the translation strategies of culture-loaded words in Fang Huawen’s ''The Spring Festival''.

===Fang Huawen and ''The Spring Festival''===
Fang Huawen was born in 1955, who is a famous Chinese literary translator and translation theorist. He plays an important role in literary translation in China and he was elected as a representative in the field of literary translation in China. He has translated many literary works such as ''Oliver Twist'' and ''David Copperfield'' written by Charles Dickens, ''Tess of the d'Urbervilles'' and ''Jude the Obscure'' written by Thomas Hardy, ''Jane Eyre'' and ''Pride and Prejudice'' written by Jane Austen and so on. Also, he wrote books of Chinese Culture of Editions Series such as ''Chinese Garden'', ''Chinese Folk Customs'', ''Famous Historical Cities in China'' and so on, which introduce Chinese culture in all areas. His representative translated work is ''History of Chinese Translation in the 20th Century'', which elaborately introduces the Chinsese Translation theories and translators, covering more than ten million words. His translated works have made great contributions to the spread of Chinese culture, and his translation views are well known both at home and abroad. He was named "the most productive literary translator in contemporary China” by the UNESCO International Federation of Translators and his translation theories were publish in ''Babel'', the academic journal of the International Federation of Translators, which enabled the world to know the general situation of Translation in China and the characteristics of translation.

In this essay, ''The Spring Festival'' is selected as the text of analysis, which is one of the prose collected in the book ''Translation and Appreciation of Chinese and Foreign Selected Famous Proses and Poems'', whose author is also Fang Huawen, selecting and translating famous Chinese and foreign proses and poetry. ''The Spring Festival'' is written by Fang Huawen and he selcets his own translation version in the book. The prose introduces the Spring Festival, the most important traditional festival of the China. The prose introduces the customs and activities of the Spring Festival in detail, which have been passed down from the ancient time. With the changes of the time, the words and customs have their own distinctiveness. Taking the traditional activity “post picture” as an example in the essay, Chinese people posted pictures of Shen Shu and Yu Lu with the wish of getting good luck and happiness in Nan Dynasty. While in Tang Dynasty, they posted the photos of Qin Shubao and Yuchi Jingde. If you don't know the cultural background of Chinese culture, you can hardly know the connotaion of the words. For example, the names of firecrackers are of various kinds, like "Rockets", "Rolling Mines", "Fairy Scattering Flowers", "Knights in Red" and so on. The author elaborately introduces all kinds of customs and activities from the first day of the first lunar month to the 15th day of the first lunar month, among which culture-loaded words are unique to Chinese culture, and the translation of these culture-loaded words will greatly promote the spread of Chinese culture.

===Culture and Culture-loaded Words===

====The Brief Introduction of Culture====
Compared with the economic and political field, culture refers to the spiritual activities of human beings and the products they produce. Culture is a set of customs, traditions and values formed by people living in a specific community over a long period of time, such as the culture of a nation or country. There are various cultures in the world, and each culture has its own characteristics, including its own ethnic values, such as religious belief, world outlook, etc. It also includes spiritual products produced by specific ethnic groups, such as some artistic and scientific spiritual products. Besides, the manners and behaviors of a nation such as folk customs, spirits and so on.

Chinese contemporary writer and scholar Yu Qiuyu gave a detailed interpretation of culture. He gave a definition of culture with a concise and simple sentence in ''What is Culture'', that is, culture is a kind of spiritual value and life style called habit, and its final result is collective personality. (Yu qiuyu 2012:3) The first key word is spiritual value, which means that culture is not only a cultural phenomenon, but also has cultural value. Therefore, it can be explained that culture is a spiritual symbol of human beings compared with the primitive state. The second key word is lifestyle. This is the concrete realization of spiritual value. In most cases, culture, it should be concrete and acessible. The third key word is collective personality. This shows that culture not only affects people, but also concentrates on personality precipitation to maintain some stability.
That is to say, the unique spiritual value and way of life developed by a particular nation is the culture of this nation, such as Confucianism, ancestral hall culture in Chinese culture and so on.

Specifically, Culture covers nearly all kinds of fields in social life. There are many classifications of culture from different perspectives. For example, from the geographical aspect, there are local culture and foreign culture, urban culture and rural culture, Eastern culture and Western culture and so on. Also, from the perspective of time, there are primitive culture, slavery culture, feudal culture, capitalist culture, socialist culture and so on. According to Nida, he divided culture into five categories in his book Language, Cultural and Translation:(1) ecological culture, (2) material culture, (3) social culture, (4) religious culture, (5) language culture. (Nida 1993: 91)

====The Brief Introduction of Culture-loaded Words====
Culture-loaded words refer to the words or phrases carrying the unique cultural connotations of a certain nation, which are different from other nations. Chinese scholar Hu Wenzhong defined culture-loaded words as follows: "Culture-loaded words are words within the scope of a specific culture, and are the direct and indirect reflection of national culture in the language vocabulary" (Hu Wenzhong 1999:64). When these culture-loaded words are translated into the target language, it is not easy to find corresponding words in the target language. Therefore, the wide use of culture-loaded words can transmit national cultural values and promote national communication.

Based on the classification of culture of Nida, culture-loaded words also can be divided into five catergories accordingly. The first is ecological culture-loaded words, which refer to the words that reflect the unique local ecology, such as climate, lgeomorphology, natural environment, mountains, rivers, vegetation and so on. Different geographical environments breed different cultures, such as the Chinese idiom “稳如泰山”, which translates into English as stable as Mount Tai, meaning as firm as a rock, "Mount Tai" is a unique ecological environment in China. Mount Tai is very majestic in the hearts of the Chinese people, and it is worshipped by the people and enjoys a high status. Therefore, people use this idiom to praise people as stable and unshakable as Mount Tai. For English phrase, "a big fish" is literally translated into Chinese “一条大鱼”, but in English culture, it means "Great man", because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.

The second is material culture-loaded words, which refer to words produced in daily life to meet the development of people's material life, that is, words with cultural connotations such as clothing, food and household goods that people need in daily life. In different cultures, people have different associations with different objects. For example, in Chinese culture, since the ancient time, people have divided the universe into five kinds of things, namely are Wood (木), Fire (火), Earth (土), Metal (金), and Water (水), and called them "Wu Xing(五行)"also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena.

The third social culture-loaded words refer to words that reflect various aspects of the society according to different social backgrounds, such as unique festivals, customs, local conditions and practices, as well as the way of address and greeting. For example, "aunt" in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.

The fourth religious culture-loaded words refer to some words related to religious beliefs and concepts, reflecting the influence of religion o.n people's lives. For example, Chinese culture is deeply influenced by Buddhism. Some common sayings contain the influence of Buddhism on people's life, such as the Chinese proverb "菩萨心肠"，which refers to the people with a great kind heart. Cram at the eleventh hour. "菩萨"is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.

The last one language culture-loaded words are the reflection of different languages characteristics in speech, lexical, syntax and other linguistic aspects, usually found in dialogue, ancient poetry and colloquialisms, idioms, and so on. Chinese sentences attach importance to the connection of meaning, and clauses are often connected by meaning, while English sentences are connected by connectives. For example, the famous Chinese proverb,"经得广，知得多"，the whole sentence is very concise, only with six words, and there is no conjunction to connect the sentence. However, the English translation cannot completely translate the format, but need to use a conjunction to connect the sentences in English grammar, that is if you experience more, you can know more things.

===Domestication and Foreignization Strategies===
Domestication and foreignization are two different translation strategies proposed by Venuti in ''The Translator's Invisibility A History of Translation'' from the perspective of culture in 1995. According to Venuti, Domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers.(Shulttleworth , Cowie 1997 : 43~ 44) This was based on the Germanphilosopher Schleiermacher's famous notion of the translation that don’t disturb the reader, as much as possible, and then lead the author towards the meaning that author want to convey. That is to say, using the tanslation strategie of domestication is to localize the translated text. And translator should first consider the target language readers but not the loyalty to the author. Therefore, when translating, the translator should choose the plain and familiar words and expressions in the target language that would not be a barrier to reading for readers, so that the translation can be read nativly and vividly but do not make the readers feel stiff or unfamiliar, and it would not be like a text has been translated but an original book. When translating, he also created many plots that cater to the public’s preferences, making the novel interesting and easy to understand. Because of the cultural differences between the East and the west, some specific words in the source language have no corresponding meanings in the target language. Therefore, especially when translating idioms and allusions, domestication is often used in order to maintain their unique simplicity and expressiveness. For example, cry up wine and sell vinegar(挂羊头卖狗肉)/ live a dog's life(过牛马一样的生活)/seek a hare in hen's nest（缘木求鱼）（Fang Mengzhi 2004: 3）

Foreignization refers to the translation strategy that a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. (Shulttleworth , Cowie 1997 : 58~ 59) Foreignization refers to the translation strategy that the translator first considers his loyalty to the author and the original text, so the translation will preserve the language characteristics and cultural customs of the original text. The use of foreignization translation strategy will not only make readers have "exotic" reading experience so as to help them better understand cultural differences，at the same time，it also enrich the target language. Many foreign words and expressions have been well integrated into the target language and used in people's daily life. The example of foreignization in Fang Mengzhi's a dictionary of translation studies, such as "time is money", comes from the foreignization of "time is money" in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）

Domestication and foreignization are indispensable translation methods in cross-cultural translation. Domestication can invisibly introduce foreign cultural ideas into the country without causing exotic reading experience or bringing reading barriers to target language readers, thus increasing the readability of the text. However, with the advent of globalization, blindly domesticating other languages is a way of showing ethnocentrism, which is actually a kind of cultural aggression of other country. Venuti believes that the domestication is to use smooth translation strategy to hide the domestication in the transparency of the translation. This is not a cultural exchange but an act of culuture violence under the cover of domestication strategy with ethnocentric ideas, that is, tampering and cultural appropriation. (Fang Mengzhi 2004: 96）Therefore, foreignization has become an increasingly important translation strategy in the process of translation. For culture-loaded words, adopting foreignization translation strategy can not only accurately express the meaning of the sentence, but also promote the spread of Chinese culture, so as to promote the mutual understanding and communication between the East and the West. Therefore, foreignization is gradually accepted by people and more widely used in the world.

===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===
The prose ''The Spring Festival'' contains many traditional Chinese festival culture-loaded words such as poems, idioms, proverb and so on, so in the process of translation, appropriate methods and strategies should be selected. For these Chinese culture-loaded words, the English translation is not completely corresponding to the original text. For example, some Chinese culture-loaded words have Chinese cultural connotations but are not reflected in the translation, and the sentence format in the original text is not completely corresponding in the translation. Based on the classification of culture-loaded words mentioned above, this essay analyzes the ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words in Fang Huawen's ''The Spring Festival'' on the theoretical basis of domestication and foreignization translation strategies.

====Ecological Culture-loaded Words====
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words "火树银花" to describe the scene of the Lantern Festival with bright lights. Literally, "火树" means the fire trees, "银花" means the silver flowers. If the translator uses the foreignization translation strategy to transliterate the sentence, the foreign readers who don't know the Chinese culture may not understand the meaning of the sentence, and will be confused. This is not a tree or flower, but a scene of bright lights. Therefore, the translator adopts the domestication translation strategy and translates it into "fireworks and laterns were everywhere to be seen", "火树" refer to the trees are covered with colorful lights, and "银花" refer to brightly lit scene.

====Material Culture-loaded Words====
Material culture-loaded words refer to some words used for material production, such as medicinal wine, units of weights and measures mentioned in the prose.

Example 1: "爆竹声中一岁除，春风送暖入屠苏。"

Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.

The sentence quoted the famous poem New Year's Day by Song Dynasty poet Wang Anshi, which depicted a lively scene during the Spring Festival. The word "Tusu"(屠苏) has great cultural connotation. "Tusu" is a kind of medicinal wine, called Tusu wine. According to Chinese legend, Tusu wine was first invented by hua Tuo, a famous doctor in the Eastern Han Dynasty. It is generally drunk on the first day of the first month, which plays a role in strengthening the body and defeating diseases. Therefore, drinking it on the first day of the New Year also conveys people's best wishes for the New Year that everyone can stay away from diseases and be healthy. It implied a wish, just as people in the western culture also toast on festivals, so the translator replaced the literal translation of Tusu with the familiar word toasting.

Example 2: 曾架起一座二十丈的灯山。

Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.

In the sentence, "二十丈", that is twenty Zhang. Zhang is a unit of length used in ancient China. The use of Chinese length units has evolved with the changes of history. The units of measurement are closely related to life, they have appeared since the beginning of human beings. The primitive people used fingers as inches, palms as feet, and stretching elbows as feet. Then Qin Shihuang unified the measurement and till now the appearance of modern measurement technology today, the evolution of ancient measurement system reflects the changes of history. In English, there is no length unit of Zhang. Therefore the translator used the domestication translation strategy that converted 20 Zhang into 70 meters.

====Social Culture-loaded Words====
The use of social culture-loaded words reflects the specific social background of the certain period. For example, the appellation or title of people is a significant part of social culture-loaded words. In this prose, the titles of the two ancient emperors "汉武帝" and "唐睿宗" are mentioned. The translator's translation of the ruler is as follows:

Example 1：自从汉武帝以来...。

Ever since the Emperor Wu's Reign of Han Dynasty.

Example 2：唐睿宗时，长安的皇宫外庆贺元宵节

During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.

In Chinese history, from the Han Dynasty to the Sui Dynasty, the posthumous title of the emperor is generally used, which summarized the deeds and morality of the deceased. For example, Emperor Wu of the Han Dynasty, whose posthumous title is "Wu", praised the moral character of Emperor Wu of the Han Dynasty. From the Tang and Song Dynasties to the Yuan Dynasty, the temple name of the emperor was used as the appellation. Temple name is the name given by later generations when they worship in the temple after the death of the ancient emperor. For example, the temple name of the founding emperor is Gaozu or Taizu, such as song Taizu. For the successor, the last word is always Zong, which means to maintain the achievements of the predecessors. For example, Tang Ruizong's temple name is "Rui", which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title "Wu" of Emperor Wu of the Han Dynasty and the temple name "Rui" of Ruizong of the Tang Dynasty. Although the title of emperor is different from that of Di and Zong in Chinese, translator all uses the word emperor.

Example 3: 其外形有"哪吒闹海""孙悟空""猪八戒"和"沙僧"。

Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing.

The words in historical allusions and legends have great social and cultural connotation. "哪吒闹海"is an ancient Chinese legend."孙悟空", "猪八戒" and "沙僧" are main characters in Journey to the West, one of China's four greatest master pieces. Chinese people have watched TV dramas or books about these characters since childhood, so they are familiar with them. However, for foreign readers, they are not familiar with these characters or plots, so it may perplex them if you don't explain the culture background here. The translator adopted the foreignization translation strategy to directly translate "孙悟空" into "Na Zha's adventure in the East Sea", "孙悟空"into the well-known Monkey King, "猪八戒" into Pigsy, and "沙僧" into his name Sha Wujing. Literal translation may confuse readers who do not understand these legends and stories, so notes can be added, that is, Nazha (a divine warrior in Chinese mythology). And Monkey King, Pigsy, Sha Wujing (main characters in Chinese classics pilgrimage to the West).

====Regilious Culture-loaded Words====
Example 1：死后玉皇大帝封他为"斩祟将军"

And was appointed "ghost-killler general" by God of all gods after his death.

In the translation, the translator uses domestication translation theory to translate "玉皇大帝" into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and "玉皇大帝" is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, "玉皇大帝" also governs the affairs of the universe. People regard "玉皇大帝" as the "emperor" in heaven, the supreme ruler of the world of all gods.
In western culture, religions are numerous and varied. Ancient Greece is the land of pantheism, the ancient Greeks advocated many gods. Zeus is regarded as God of all gods and the supreme ruler of the gods in the Greek mythology. Several popular Western religions, such as Christianity, Judaism and Islam are monotheism, holding the belief that God is the only creator of the world. God is conceived of as the Supreme Being and principal object of faith. So the use of domestication can not only express the same meaning of the sentence, but also adapt to the religious culture in the west.

Example 2: 旧岁的最后一天叫"大年三十”，因"除旧岁”而得名除夕。

Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.

The phrase "旧岁”, "岁”is not only refers to the age, but also means year. "旧岁" refers to the past year. The last day of the year, called "岁除", and the night of the day is called "除夕". 除夕, the original meaning of "New Year's Eve", refers to the end of the year to usher in the new. New Year's Eve is a time for family reunion. Like Tomb-sweeping Day, Ghost Festival and the Double Ninth Festival, New Year’s Eve is a traditional Chinese festival for ancestor worship. This sentence uses the combination of domestication and foreignization. The use of foreignization preserves the cultural image and promotes the culture exchange.

====Language Culture-loaded Words====
Chinese idioms usually contain the essence of language and have Chinese characteristics. Many of them use figures of speech such as metaphor. A metaphor is a comparison of something you want to say with something that has similar characteristics. In idioms, metaphors are used to describe the characteristics of something to make it vivid, so as to trigger the association of readers. The idiom in the prose like "像箭一般冲出去了", means that the children rush out quickly, but also shows that the children eager to go outside. In Chinese culture, the arrow(箭) is often used to describe high speed. For example, the idiom "离弦之箭" is used to describe high speed. "离弦之箭" refers to Time flies quikly. But there is no equivalent like arrow in English. In English, words like "bullet" or "cheetah" or "rocket ship" are used for things that are fast. Therefore, in order for readers to better understand the meaning of the sentence, the translator uses the domestication method to paraphrase as "dash out", "dash" is an act of running or moving very quickly or hastily, Although the cultural connotation of the source language is sacrificed in this way, the translator faithfully expresses the meaning of the source language.

===Conclusion===
This essay finds that the prose includes plenty of culture-loaded words, which contains extensive and profound meaning about traditional Chinese culture and customs. This essay introduces the Spring Festival, the most important traditional festival in China, as well as various activities prepared by Chinese people for the Festival and customs they adhere to, which largely spread Chinese culture, promote cultural exchanges in the world, and greatly enhancing the strength of Chinese culture. For this essay, using Fang Huawen's translation text as the analysis object, analyze the translation strategies of translator used about different kinds of culture-loaded words, that is, ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words. According to Venuti's translation theory, he advocates that translators should more use foreignization to preserve the cultural connotation of the source language. However, the translator Fang Huawen adopts the domestication translation strategy more frequently, choosing the cultural images familiar to the target language readers in order to resonate with the target language readers and make the target language readers get roughly the same reading effect like the source language readers. At the smae time, culture-loaded words have complex cultural images, if the target language readers do not understand the cultural connotation behind the words, they will not be able to get the real meaning of the text, and may even misunderstand the text mistakenly. When using domestication strategies, translators most commonly use free translation, in which they replace culture-loaded words in the original text with words and expressions more familiar to the target language readers, so as to improve the readability of the translated text and reduce readers' reading barriers. For example he translates the character of Chinese legend "玉皇大帝”into"God of the gods”that are more familiar to the target language readers. However, with the development of globalization, foreignization is increasingly used in translation. When the translator encountered some characteristic culture-loaded words, he chose literal translation, such as "Danianshanshi". Although the translator uses foreignization translation strategy to bring strangeness to the target language readers, it not only retains the traditional image of Chinese culture, but also meets the needs of cultural communication in the world. Foreignization can not only express the meaning of the source language, but also retain the characteristics of the national language. Domestication and foreignization are interactive and not completely opposite. Translators can combine foreignization and domestication in translating culture-loaded words. When translating culture-loaded words, the translator can not only use foreignization translation strategy to retain the cultural image and language connotation of the original text, but also use domestication translation strategy to make the translated text easy to understand and readable.

===References===

Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.

Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.

Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&Newyork:Routledge.

Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese& Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science & Technology Press.

Fang Mengzhi 方梦之(2011). 中国译学大辞典''The Dictionary of Translation Studies in China'' [M]. 上海：上海外语教育出版社 Shanghai: Shanghai Foreign Language Education Press.

Yu Qiuyu 余秋雨(2012). 何谓文化''What is Culture'' [M]. 武汉：长江文艺出版社 Wuhan: Changjiang Literature and Art Press.

Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)

=13 程杨《边城》中文化负载词的翻译—以戴乃迭英译本为例 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =
[[Cult_Load_Words_EN_13]]

=14 胡舒情浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》为例On Translation Strategies of Culture-loaded Words in Traditional Chinese Medical Classics: A Case Study of ''Treatise on Febrile Caused by Cold''=

胡舒情 Hu Shuqing, Hunan Normal University, China

[[Cult_Load_Words_EN_ 14]]

=== Abstract ===
''Treatise on Febrile Caused by Cold'', written by Zhang Zhongjing in the late Eastern Han Dynasty, is one of the "Four Classics" of Traditional Chinese medicine which uses six channels as guiding principles of syndromes differentiation and treatment. The book concentrates the traditional Chinese medical wisdom, which is both scientific and literary. The writing is smooth and simple, and the language is straightforward and vivid. A large number of rhetorical devices such as reduplication of words are used to reflect the beauty of Classical Chinese. Its multiple values have led more and more scholars to devote themselves to research, study and even translation and promotion, and a number of outstanding scholars have emerged at home and abroad to devote themselves to the translation work of this book. However, it is not easy to translate this book. China has an long history and profound culture, and the book contains many culture-loaded words. The translation quality of such words directly affects the translation quality, so it is necessary to adopt appropriate translation strategies. Therefore, the author chooses the version translated by Professor Luo Xiwen as the research blueprint to study the translation strategies of culture-loaded words in traditional Chinese medicine classics, in order to promote the translation of this book to a higher level.

=== Key Words ===
cultrue-loaded words; Treatise on Febrile Caused by Cold; Tranditional Chinese medicine classics; translation strategies

=== 题目浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》 ===

=== 摘要 ===
《伤寒论》为东汉末年的张仲景所著，是以六经作为辩证论治的纲领，荣列为中医“四大经典”之一。该书浓缩了中国传统医学智慧，兼具科学性与文学性，行文流畅朴素，语言直白形象，其中大量运用叠词等修辞手法，体现了中国文言文之美。其多重价值致使越来越多的学者致力于研究、学习、甚至是翻译推广，国内外皆涌现出一批优秀学者投身该书的翻译工作中。但翻译此书并非易事，中国历史优秀、文化精深，书中包含众多文化负载词，这类词的翻译质量直接影响译文质量，采取合适的翻译策略必不可缺。因此，笔者选择了罗希文教授所翻译的版本，作为中医典籍文化负载词翻译策略的研究蓝本，以期推进该书翻译工作更上一层楼。

=== 关键词 ===
文化负载词，《伤寒论》，中医典籍，翻译策略

===1. Introduction===
In recent years, China's international influence and national soft power have gradually improved, and the country has consciously pushed Chinese culture to all over the world. Traditional Chinese medicine culture, as an indispensable part of the excellent traditional culture of the Chinese nation, has a long history and unique theories and technical methods. Classic materials are rich and humanistic spirit of TCM is amazing, and the external dissemination of traditional Chinese medicine culture is becoming more and more important. Under this background, the translation of traditional Chinese medicine in China has been gradually carried out, and the culture-loaded words in the classics of traditional Chinese medicine are important features that reflect their rich cultural color and humanistic connotation, and the translation of culture-loaded words is the key to the translation of traditional Chinese medicine. Culture-loaded words are parts of the construction of traditional Chinese medicine culture and have basic research value. They cannot be unilaterally regarded as completely untranslatable because of the differences between Chinese and Western cultures. Facing the problems of translation, it is particularly important to put forward feasible translation strategies. A large number of translators of traditional Chinese medicine classics have also emerged in China, facing difficulties and striving to show the world the classics’ cultural accumulation and research results. Among them, the translator Luo Xiwen has translated a series of traditional Chinese medicine classics such as ''Condensed Compendium of Materia Medica'', ''Synopsis of Prescriptions of the Golden Chamber'', ''Huangdi Neijing'', and ''Treatise on Febrile Caused by Cold''. As one of China's historical medical works, ''Treatise on Febrile Caused by Cold'' is a classic work of traditional Chinese medicine written by Zhang Zhongjing in the Eastern Han Dynasty. It plays an important role in the development of medical history in the cultural biography of traditional Chinese medicine. This article will discuss the translation strategies of culture-loaded words in traditional Chinese medicine classics through Luo's translation of Treatise on Febrile Caused by Cold.

===2. TheDefinition and Classification of Culture-loaded Words in Chinese Medical Classics ===
====2.1 The Definition====
Different scholars have different interpretations of culturally loaded words, but a widely accepted definition is that words, phrases and idioms which mark the unique things in a certain culture. These words are deeply imprinted by the region and times of a language society. They only exist in one culture but are blank in another culture.

In recent years, many scholars have begun to pay attention to culture-loaded words in traditional Chinese medicine classics. Some scholars have tried to give a definition of traditional Chinese medicine culture-loaded words, but there is no clear definition yet. However, scholars Zhang Miao and others put forward recognition steps and a selection standard for traditional Chinese medicine culture-loaded words. First of all, read through the text and divide the semantic groups. Secondly, judge whether the semantic group belongs to the shared vocabulary of all human culture, that is, to express one concept of things as a vocabulary in the context of one language and culture, and words that indicate the corresponding concept in another language and culture background. For example, the words "apple", "pear" and "fire" in Chinese express the same concept and corresponding words in English. If it does not belong to part of speech, then determine whether each semantic group belongs to the following three categories. First, the basic terminology of traditional Chinese medicine. Such terms are usually divided into basic theories of traditional Chinese medicine, diagnosis of traditional Chinese medicine, diseases of traditional Chinese medicine, treatment of traditional Chinese medicine, acupuncture and moxibustion, and prescriptions of traditional Chinese medicine. Second, words unique to Chinese material culture, such as unique characters and things. Third, the unique language phenomenon of ancient Chinese. Such as ancient and modern synonymous words, common false words, word polysemy, etc. If it belongs to, and there is no obvious English corresponding word in the above semantic group, it is a culturally loaded word(Zhang Miao, 2020:63-64). According to this method, this paper selects the culture-loaded words in ''Treatise on Febrile Caused by Cold'' in the following article for analysis.

====2.2 The Classification====
After fingding out the culture-loaded words of traditional Chinese medicine, it is often necessary to classify and discuss them. Different scholars have different classification methods. Xu Xueyuan divided the culture-loaded words in ''Huangdi Neijing'' into basic philosophical concepts of traditional Chinese medicine, place names, traditional Chinese medicine terms and organs(Xu Xueyuan, 2018:148-149). Zhang Xuan divided the culture-loaded words in Su Wen into people's names, traditional Chinese medicine terminology, traditional Chinese medicine-related philosophical concepts, and other descriptive cultural load parts of speech(Zhang Xuan, 2009:12-16). Song Conghui and others divided the words of cultural load into: symptoms of traditional Chinese medicine, symptoms of traditional Chinese medicine, etiology and pathogenesis of traditional Chinese medicine, treatment of traditional Chinese medicine, basic philosophy of traditional Chinese medicine, etc(Song Conghui, 2016:121-122). Chen Zinuo and others divide the culture-loaded words of traditional Chinese medicine into five categories: syndrome, symptom, prescription, philosophy and rhetoric(Chen Zinuo, 2021:1698-1700). The latter includes the classification mentioned in the first three, and also opens up a rhetorical class to make the classification more detailed and clear. Therefore, this paper adopts Chen's classification method.

===3. Translation Strategies Used for Culture-loaded Words in ''Treatise on Febrile Caused by Cold''===
====3.1 Translation Strategy of Culture-loaded Words of Syndrome====

The translation of the syndrome affects the readability of the whole translation. ''Treatise on Febrile Caused by Cold'' has been written for a long time, and the simple structure of syndrome name carries a lot of information, so there are few modern terms that can be matched with ancient syndrome names. According to the methods mentioned above, most of the terms of traditional syndrome names belong to culture-loaded words. The author selected the syndrome -type culture-loaded words in Treatise on Febrile Caused by Cold translated by Professor Luo Xiwen to study the translation strategies of these words.

There are several syndromes mentioned in translation of Professor Luo: “太阳病” “阳明病” “少阳病” “太阴病” “少阴病” “厥阴病” “霍乱病” “阴阳易差后劳复病”. Sheng Jie believes that the translation of the syndrome name should be accurate first, then concise, and there is no need to overemphasize formal equivalence(Sheng Jie, 2013:15). When the meaning of the syndrome name has the corresponding words of Western medicine, the literal translation method should be directly used, and when there is no word to use, the method of additional translation can be selected.

Luo mainly adopts transliteration and free translation for syndrome names, first transliteration, followed by free translation, extending the cultural connotation and giving readers a way to deepen understanding. The following analysis can be seen.

“太阳病” appeares in chapter I, and Luo translates it into The Taiyang (Initial Yang) Syndromes. “太阳” does not refer to the celestial body “sun”, but to the Bladder of Foot-Taiyang. The bladder is located in the lower jiao, that is, below the belly button and above the bladder, which contains body fluid, which evaporizes to form "Qi of Taiyang", which is obvious on the body surface. This Qi has the function of protecting the body, also known as "Wei-qi". Because “Wei” meaning defensive, it is also reputed as “defensive Qi”. Because the Qi of Taiyang travels on the surface of human body, when exogenous pathogenic factors invade the human body, Taiyang must bear the brunt, and the syndromes presented as 太阳病. Professor Luo first gives the transliteration form of 太阳病, and then in view of Taiyang syndromes being the first from the law of transmission, Luo also adds “Initial Yang” as an expression of this kind of law of transmission.

“阳明病” appears in Chapter 4, Luo translates it as: The Yangming (Greater Yang) Syndrome. “阳明病” is related to the stomach channel of Foot-Yangming and the Large Intestine Meridian of Hand-Yangming, which means that Yang Qi is so strong that can be observed. Luo uses "Greater" to indicate the prosperity of yang qi to help readers understand the degree of yang.

“少阳病” appears in Chapter 5. Luo translates it as: The Shaoyang (Lesser Yang) Syndrome. Shaoyang is related to Sanjiao Meridian of Shaoyang and Shaoyang Gallbladder Meridian of Foot. It is one of the three Yang, but its ability to stand up to evil is not as good as Tiyang and Yangming, so "Lesser" is used to correspond to "少" in the name.

“太阴病” and “少阴病”, which have similar names with the “太阳病” “少阳病”, just different from Yin and Yang, have similar translations, so there is no need to go into detail. It is worth mentioning that “厥阴病”, Luo translates it as: The Jueyin (Greater Yin) Syndrome. “厥” has the meaning of “extreme”. When the disease or syndrome reaches Jueyin, Yin is extremely cold. Therefore, the degree of Yin embodied with "Greater" is similar to that of Yangming.

“霍乱” appears in Chapter 9, Luo translates it as: Huoluan (Cholera). “霍”, has the meaning of “suddenly” and “haste”, “乱” has the meaning of chaos. “霍乱” is an explosive gastrointestinal disease with vomiting and diarrhea as the main clinical manifestations. Traditional Chinese medicine believes that it is mostly caused by the combination of the six pathogenic factors and unhealthy diets. In Western medicine, Cholera is more likely to be an acute diarrheal infectious disease caused by the intake of food and water which is contaminated by Vibrio cholerae. It is not appropriate to have Cholera's literal translation of “霍乱” in Chinese medicine.

“阴阳易差后劳复病” appears in Chapter 10, Luo translated it as: The Recurrence of Disease and Yin Yang Yi Syndrome. This chapter introduces two parts: one is related to Yin Yang Yi, that is, the differentiation and treatment of Yin Yang Yi syndrome caused by patients with typhoid fever when they are not healed or just recovering, giving way to their carnal desires; the other refers to the differentiation and treatment of recurring diseases resulted from that, at the beginning of recovering from an illness or no recovery, patients start to work. In this chapter, Luo does not add interpretations, but directly arranges the free translation and transliteration in a phrase. The language is concise, easy to be accepted and understood by readers, and achieve the purpose of communication between Chinese and Western medicine. As a matter of fact, observations show that Luo's translation is relatively accurate in grasping the prosperities of syndromes, and tends to use free translation to reflect the characteristics of the progress of syndromes. However, Luo still mainly uses transliteration to convey cultural information about Yin and Yang and other Chinese-specific philosophical characters. This method also has drawbacks, that is, the transmission of cultural connotation depends on the degree of such characters’ propagation and the reader’s cultural level. For some readers who are first exposed to Chinese medicine culture, the transliteration is not friendly, which is not conducive to their reception of Chinese specific cultural information.

====3.2 Translation Strategy of Culture-loaded Words of Symptom====
When describing various syndromes in the book, it also points out the symptoms of the patient who is attacked by those disease. Most of the symptoms are described in detail at the beginning, and Chinese medical books are quite different from Western medical books in terms of the degree of language rigor. About Chinese medicine books, they make good use of rhetoric and pay attention to flowery characters and rhyme beauty, which adds a literary flavor to Chinese medicine, while it also causes the ambiguity and non-standardization of the concept of Chinese medicine, which increases the difficulty of translation as well. Examples are as follows.

Example 1：阳浮者，热自发；阴弱者，汗自出。

Translation：Floating at the surface signifies Heat weak in depth signifies spontaneous perspiration.

This sentence is neatly formed and catchy to read. Luo's translation is roughly the same as the original in form. It is worth noting that Luo translates most of the character "热" which refers to heat symptoms caused by an exopathgen as "Heat" or "pathogenic Heat", and capitalized H to distinguish the "heat" from common heat.

Example 2：鼻鸣干呕

Translation：nauseous and with a tendency to snore

In response to “干呕”, Luo uses the adjective “nauseous” to express "disgusting". In fact, the original text “干呕” is closer to “retching”, which refers to only the sound and action of vomiting, but no food or only salivation. This is not the same as complete nausea. “Nauseous” the word chosen by Luo here does not fit the context of Chinese medicine. “鼻鸣” are sounds made when the breath enters and exits due to suffocation in the nasal passages. It is manifested as thick breathing like a squeak, and snoring is the sound of thick breathing after falling asleep. Luo use the translation of “snore” is rather accurate.

Example 3：不下利，但呕者

Translation：……not cause diarrhea, but rather cause nausea and vomiting

“下利” refers to having the trots in Chinese medicine. The literal translation of "diarrhea" here fits the context. Compared with using the previous term nauseous to indicate “干呕”, Luo treats the character “呕” more carefully, using two words nausea and vomit to expresse together. At the same time, ancient Chinese medical writings in classical style tend to use omissions and emphasize parataxis, while English paying more attention to hypotaxis, Luo uses the word “cause” to make sentences more coherent and clearer.

In summary, it can be seen that the translation of symptoms extremely tests the translator's Chinese and English levels and medical understandings, and a slight difference will lead to deviations in meaning. For such culture loaded words, translators also use more literal translation and omission methods, and less transliteration. But there is also a problem, that is, most of the symptom names in Chinese and Western medicine can not completely point to the same content, and this subtle difference may cause doctors to make mistakes in judgment and cause major accidents. Therefore, the translation of symptoms should be more careful, and comments can be added when necessary to help understand.

====3.3 Translation Strategy of Culture-loaded Words of Prescription====
Treatise on Febrile Caused by Cold is the "ancestor of all prescriptions", which contains many culture loaded words related to prescriptions. Chai Hui has carried out research on the English translation of the prescriptions of Treatise on Febrile Caused by Cold, using the transliteration + literal translation + Latin notation of the "three insurances" translation method for prescription names to ensure that the translation is accurate and comprehensive(Chai Hui, 2010:703-704). Luo's translation mainly uses literal translation for such culturally loaded words. Examples are as follows.

Example 1：芍药

Translation：Radix Paeoniae

The translation of medicinal materials needs to pay attention to the phenomenon of different medicines with the same name. For example, in Zhang Zhongjing's book, there is no distinction between white peony and red peony, but in modern times, white peony and red peony are clearly classified as two kinds of medicinal materials. At present, clinical physicians generally believe that white peony’s function is rather tonic and restorative, while that of red peony refers to ejecting or diarrhea, and two medicinal materials need to be used flexibly according to the condition of the disease. Professor Luo uses Radix Paeoniae to translate it in general, without any distinction or explanation.

Example 2：潦水

Translation：rain water

In Chinese medicine, “潦水” refers to rain water. Luo Zhi literally translated it. “潦水” can be used to decoct herbal medicines whose functions are to nourish spleen and stomach and remove the dampness-heat. In fact, the translator can also explain the reasons for the use of rain water in Chinese medicine after the text, which is more conducive for readers to understand the connotation of Chinese medicine.

Example 3：苦酒汤

Translation：decoction of Bitter Wine (Ku Jiu Tang)

"苦酒汤" in Chinese medicine is actually rice vinegar. Luo translates it as "bitter wine", which means wine with a bitter taste, which is not in line with the original meaning and can be misleading.

Through the above analysis, we can find that the names of the prescriptions and the materials used in the book all have specific cultural connotations of traditional Chinese medicine. There are few corresponding words in Western languages, and even if they do, they are different from the original cultural connotations of the word in the West. We need to adopt appropriate methods in translation, which not only preserves the cultural characteristics of Chinese medicine, but also facilitates the understanding of target readers.

====3.4 Translation Strategy of Culture-loaded Words of Philosophy====
The philosophy of Chinese medicine is the ideological basis and theoretical guidance of Chinese medicine, covering Qi, Yin and Yang, and the Five Elements and so on. Among them, the theory of Yin and Yang is the main line of Treatise on Febrile Caused by Cold, which is expressed as two opposite sides of the same thing or two opposite things in a unified way. Jiang Mingde and others have analyzed the polysemous nature of the term "Yin and Yang" in Treatise on Febrile Caused by Cold, and pointed out that Yin and Yang can represent multiple meanings such as pulse location, pulse condition, disease attributes, pathological characteristics, etc(Jiang Mingde, 1992:7-8). The specific meanings in terms vary according to the environment and the translators different. Some examples are analyzed as follows.

Example 1：阴阳自和

Translation：if yin and yang are still in harmony

"阴阳自和" means that after sweating, vomiting, and using the purgation method, the human body achieves Yin-yang harmony and heals through self-regulation. This is an important content of Chinese philosophy. This tends to be a kind of dynamic balance, while Luo Yi's translation of “in harmony” is more inclined to a kind of static stability, which is somewhat different from the original meaning.

Example 2：脉阴阳俱浮

Translation：floating pulse at Yin and Yang

The translations of “阴阳” here are still transliterated as Yin and Yang. As a matter of fact, the two terms here refer to “Cun” and “Chi” (the transliteration of “寸部” “尺部”) appearing as floating features. Cun pulse pertains to Yang, and Chi pulse is to Yin. Professor Luo only uses transliteration, without supplementing background knowledge and relevant contextual information, so that readers in the target language may not understand what exactly they refer to.

Example 3：伤寒阴阳易之为病

Translation：Febrile disease caused by Cold with Yin Yang Yi syndrome

Luo adopts transliteration and free translation. In regard to Yin Yang Yi, Yin and Yang here refer to sexes of male and female, among which Yin Yi is the disease transmitted from female to male; Yang Yi is the diseases transmitted from male to female. After analysis, it can be found that most of philosophical characters such as Yin and Yang are transliterated by Luo, who does not provide additional explanations or supplementary background information. Without pre-connotations, this kind of translation would make the target language readers and feel confused and think that the translated work is obscure.

====3.5 Translation Strategy of Culture-loaded Words of Rhetoric====
The language of Chinese medicine has its unique features, which are mainly manifested in its literariness, rich philosophical thoughts, and good at comparing images and analogies. Various rhetoric techniques can be seen everywhere in the book. While deepening people’s understanding of the original text, it also increases the difficulty of literary translation into English. The correct transmission and translation of the true meaning requires a solid foundation in Chinese medicine and linguistics.

Example 1四肢烦疼：

Translation：the patient feels heavy and painful in the extremities

The "烦" in this phrase, Explanation of Treatise on Febrile Caused by Cold and other books explain it as an annoyance, a kind of feeling for people. The Chinese sentence here is a non-spirited sentence to replace people with limbs. Luo’s version of the translation emphasizes people's feelings. It rather focuses on people's feelings of heavy pain in their limbs, than translates people's feelings of boredom.

Example 2：啬啬恶寒，渐渐恶风，翕翕发热

Translation：The patient feels chill and fears wind, uneasy because of a fever.

Among them, “啬啬” “渐渐” and “翕翕” manifest various kinds of rhetoric techniques. “啬啬” reflects the howling shudder look, expressing that the degree of people’s aversion to cold is severe. And “渐渐” describes the onomatopoeia of mild wind and rain, while “翕翕” describes the appearance of mild fever, but these characters are not translated in Luo's translation, and Luo adopts the omission method.

===4. Conclusion===
''Treatise on Febrile Caused by Cold'' is a classic work of Chinese medicine and a treasure of Chinese medicine culture. The translation and dissemination of this book has extraordinary significance for the promotion of Chinese culture and the connotation of Chinese medicine. The culture loaded words are the condensed form of the unique national culture, and their translation is related to the readability of the entire book. The English translation of culture loaded words in Chinese medical classics is an extremely complex cross-cultural translation activity. It not only takes cultural characteristics into account, but also reflects the characteristics of scientific and technological styles, which is a great test for the level of translators. Professor Luo’s translation of this book is the world's first fully translated English translation of TCM classics. The book was published earlier than most translations. Under the background of that time, Luo Xiwen's translation of Treatise on Febrile Caused by Cold is no doubt of pioneering significance.

The translation strategies Professor Luo chooses are basically literal translation, free translation, omission, and transliteration, with few additional interpretations. Each of these translation strategies has its own advantages and disadvantages. The ultimate goal of translation is for readers to better understand the original text, and there is definitely a great similarity between the two different medical systems of Chinese and Western medicine, which cannot be separated. Literal translation can be used appropriately, and some of Western medicine terms can be used to express some concepts of that of Chinese medicine. Literal translation is a translation method that maintains both the original content and the original form. Generally, when the target language and the original language can express the same content in the same form, we will use literal translation. However, culture loaded words are the difficulties of translation due to the vocabulary vacancy in the target language. The use of literal translation seems to be contradictory. In fact, the choice of literal translation is also for the construction of the concept of TCM culture. Although Chinese medicine culture loaded words are not only a language full of Chinese national characteristics, but also a part of the world's national culture. We should also have full cultural self-confidence. In the translation process, we should dare to retain the national cultural characteristics, express the Chinese medicine culture with the conceptual language of Chinese medicine, and present the pure and natural Chinese medicine culture to Western readers, so as to increase the understanding, recognition and respect of the Chinese medicine culture. This is why Professor Luo extensively use transliteration is his translation, which reflects his care and thought. At the same time, we have to admit that Luo’s translation also has its shortcomings, such as mistranslation or incomplete translation of culture loaded words with multiple meanings, omission of some modifiers, and no supplementary explanations for relatively large differences between Chinese and Western cultures. In the future, Chinese medicine Translation needs to continue to explore, innovate, revise and develop.

All in all, the translation of Chinese medical culture loaded words must not only maintain national cultural characteristics, but also be conducive to the understanding and acceptance of target readers. All major translation strategies are worthy of careful consideration. Only translators familiarize themselves with the original text, master the similarities and differences between the two languages, choose the most appropriate translation strategy in different contexts, and supplement the relevant cultural background when necessary to help readers understand, translations of Traditional Chinese Medicine classics can be rather outstanding.

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--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 14:07, 8 December 2021 (UTC)

=15 陈静 The Translation of Culture-loaded Words From the Perspective of Skopos Theory: A Case Study of ''Xi Jinping: The Governance of China''=
[[Cult_Load_Words_EN_15]]
===Abstract===
The Communist Party of China celebrates its 100th anniversary in 2021. Xi Jinping: The Governance of China (Volume III) was published at a critical juncture. Xi Jinping's political vision is expanded in the third version. This book provides foreign readers with a window into China's leadership and insight into China's unique governance. Hence, the book is critical in assisting foreigners in understanding China's political position in domestic and international affairs. The purpose of this article is to investigate and analyze the translation strategies of culture-loaded words in Xi Jinping: The Governance of China (Volume III) using the framework of the Skopos Theory.

===Key words===
Culture-loaded words; Skopos theory; ''Xi Jinping: The Governance of China
''

===Introduction===
this subtitle is repeated I think, you can delete this one. And delete this my sentence as well.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:48, 13 December 2021 (UTC)

===1. Introduction===
====1.1 Research Backgrounds====

Language is a cultural carrier as well as an important means of understanding specific ethnic and national cultures. Each country’s language contains more or less culture-loaded words, and the connotation of these words differs from people’s general cognition of them in the context of globalization, reflecting their own unique culture, national color, and historical context. Because each nation has its own development history, social system, ecological environment, religious beliefs, and so on, the language will inevitably derive a large number of words, allusions, and idioms condensing the national historical and cultural characteristics during the development process of history. With a five-thousand-year-long history, Chinese has amassed a large number of culture-loaded words, and translation of culture-loaded words is an important carrier for cultural readers from other countries to understand Chinese culture without relevant cultural background.

From my perspective, "five-thousand-year-long history" is a little Chinglish, maybe "five-thousand-year history" is better.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:58, 13 December 2021 (UTC)

At the specific practice level, a large number of culture-loaded words will inevitably appear in the text as a material to publicize all aspects of the country. A good example is Xi Jinping: The Governance of China (Volume III). General Secretary Xi Jinping quoted classics and used approachable language in his speech. His use of words infused with Chinese culture made this series of speeches more vivid and appealing to the audience. Through careful text reading, analysis, and summarization, it has been discovered that the culture-loaded words used in Xi Jinping: The Governance of China (Volume III) primarily fall into the following categories: Chinese political words, including political slogans and political characters; a large number of ancient Chinese poems, with cultural connotation primarily reflected in the characters, allusions, and images appearing in poetry; unique Chinese sayings and idioms; and special words with Chinese cultural connotation, such as numbers, etc. The translation of culture-loaded words necessitates translators faithfully conveying the essence and soul of their national culture while accurately and properly understanding the beliefs, customs, and aesthetic values in other national cultures in order to achieve true cultural communication. As a result, in order to achieve the goal of Chinese culture spreading, translators should carefully deal with culture-loaded words and strive to accurately convey the essence of traditional Chinese culture to target language readers.

====1.2 Research Significance====

China’s politics and policies are attracting increasing attention from the outside world as China’s overall national strength and economic development improve. The Communist Party of China celebrates its 100th anniversary in 2021. This is a significant event in Chinese ruling party's historical and political development. ''Xi Jinping: The Governance of China (Volume III)'' was published at a critical juncture. Xi Jinping’s political vision is expanded in the third version. The language in the book is rich and diverse. In addition to general political terms, the book employs rhetorical devices such as exclusion and repetition to improve the language’s persuasion. The books also contain a large number of poems, proverbs, and idioms rich in Chinese cultural heritage. A minor blunder may result in cultural misunderstanding, a negative national image, and an impact on international relations.

According to Gao Fang (2010), in the context of “Chinese culture go out”, the country has taken various measures to strengthen cultural export, but Chinese readers disregard for local literature, western readers of Chinese culture cognition, English world innate discrimination against translation work and translation strategy decisions, which reflects the difficulties in the broadcast of Chinese culture. As a result, it has piqued the interest of the domestic literary circle, the translation circle, and various publishing institutions: how to successfully realize cross-cultural communication of cultural works, how to properly and effectively solve the translation problem?

The paper uses the English translation of culture-load words in ''Xi Jinping: The Governance of China'' as the research content, and attempts to summarize and analyze the translator’s translation strategy and rationality when translating Chinese culture-loaded words from the perspective of Skopos Theory, as well as providing a reference for the English translation of Chinese cultural load words in current publicity materials.

===2. Literature Review ===
====2.1 Culture-loaded Words====

Nida proposed the theory of culture-loaded terms translation for the first time in 1945.

Nida classified culture-loaded terms into five categories, including ecological, material, social, religious, and linguistic culture-loaded terms. Ecological culture-loaded terms are words or phrases that are distinct due to their ecological and environmental conditions, which typically involve animals, plants, and climate. Material culture-loaded terms refer to physical objects that are specific to a culture, such as vehicles, food, or clothing. Social culture-loaded terms encompass a broader range of cultural content, encompassing all aspects of social life such as cultural background, social rules, history, traditions, and so on. Religious beliefs, including myths and fairy tales, are examples of religious culture-loaded terms. Linguistic culture-loaded terms are expressions with rich cultural characteristics, such as specific pronunciation, word, and syntax. From the author’s perspective, Aixela (1996) provided two primary classifications of culture-loaded terms: specialized nouns and common expressions.

Newmark (2001: 70) classified culture-loaded terms into five categories based on Nida’s research: proper names, historical institutional terms, international institutional terms, national institutional terms, and cultural terms. Proper names, according to Newmark (2001: 70), refer to “persons, objects, and processes distinctively owned by an ethnic community with singular references”. Brand names, trademarks, geographical names, names of newspapers, firms, journals, and private institutions, as well as proprietary names, are all examples of proper names, according to Newmark (2001). According to Newmark (2001: 74), historical institutional terms are “token words that give color and flavor to a period”. International institutional terms are words used by international organizations that have an official translation. According to Newmark (2001: 75), national institutional terms are those involving modern politics, finance, administration, and society. The scope of general cultural terms is broader, including ecological terms, loanwords with no specific cultural characteristics, and so on.

Chinese academics also proposed their own classifications of culturally charged terms. Tu Guoyuan (1996) agreed with Nida and Newmark’s classification and defined culture in a broader sense as human society's mental and practical activities. In a broad sense, culture is defined as a community's distinct way of life and how it expresses its ideas. Culture-loaded terms, according to Liao Huihua and Ge Lingling(2010: 101), are words, phrases, and idioms that represent unique items in certain cultures. These terms reflect the distinct activities of specific ethnic groups that have accrued over time and distinguish them from other cultures.

====2.2 The Skopos Theory====
Skopos Theory, the foundation of Functionalist Translation Theory, was proposed by Vermeer, a student of Reiss. According to Skopos Theory, the primary principle determining the translation process is the purpose of translation activities.

There are three types of purposes, according to Vermeer. To begin, there is a broad goal that a translator strives for, such as translating as a source of professional income. Second, a target text's communicative purpose in a target context, such as instructing the audience. Third, the goal of a translation strategy or approach, such as displaying structural characteristics of the source language. The theory views the source text as a "offer of information in a target culture," which is a result of constructivist comprehension theories.

The Skopos Theory states that there are three basic rules.

First and foremost, the Skopos rule. It is the highest-ranking rule for any translation, implying that translation activities are determined by the translation purpose. Each text is written with a specific purpose in mind and should be used for that purpose only. Because translation behavior is determined by the purpose of the translation, the Skopos rule is the primary rule for all types of translation.

The coherence rule is the second. This rule states that the target text must be coherent enough to be understandable given the intended receivers' background and context. At the very least, the translator should ensure that the translation is understandable to people from the target culture. Furthermore, only when the target text meets the standard of being intratextually coherent can it be expected to play a presupposed role in the communicative situation and culture in which it is received, and the audience will understand it without difficulty.

The third is the rule of fidelity. This rule focuses on the intertextual coherence between the translation and the original text, which is not the same thing. The former is thought to be inferior to the latter, and both are subject to the Skopos rule. When the purpose of the function changes, the standard is no longer intertextual coherence with the source language, but adequacy or appropriateness in relation to the purpose (Reiss and Vermeer, 1984). It is critical in translation that there is intertextual coherence between the source and target texts, and the form of this coherence depends on both the translator's understanding of the original text and the translator's translation purpose. There is only one possible intertextual coherence: maximum fidelity to the original text.

Skopos Theory’s three basic rules are intended to guide the translator throughout the translation process. In most cases, the translation cannot meet all three rules at the same time because doing so causes it to deviate from the original intention of the source text. In general, the Skopos rule should be followed by the coherence rule, followed by the fidelity rule, or, to put it another way, the need for loyalty is considered to be subject to intratextual coherence, both of which are subject to the Skopos rule. When a faithful translation of the original text cannot be effectively understood by receivers of the target text, the translator should abandon the fidelity rule and follow the coherence rule, that is, to make the translation meaningful in the target language’s communicative context and culture. If the function changes, the required standard will no longer be intertextual consistency with the source text, but adequacy or appropriateness in terms of the purpose (Nord, 2001). If the purpose necessitates intratextual incoherence, the intratextual coherence criterion is no longer applicable.

====2.3 The Translation Strategies of Culture-loaded Words====

Wang Jianguo (2019) identified four limitations in translating culture-loaded words.

First, culture-loaded words are untranslatable. Culture has a distinguishing feature that sets it apart from the culture of the target language. Culture-loaded words are difficult to translate in certain literary works because they require more explanation and thus have the potential to influence the structural and aesthetic value of the target text. Second, cultural information that is highly relevant to the theme should be translated, and explanatory notes should be included as needed. If the culture-loaded word is unrelated to the source text, the target text will most likely be deleted or omitted. If the target text translated with literal translation can be understood, then literal translation is the most likely translation strategy to be used. Third, cultural values are difficult to convey. As a result, while translating culture-loaded words with Chinese characteristics, western media translation can be borrowed. Gu Hongmin, for example, translated “君子” as “a wise man”. Western culture emphasized wisdom, whereas Chinese culture emphasized benevolence. Gu translated “君子” as “wise man” because he thought the two words were culturally equivalent. Fourth, the principle of economy should be applied in translation. Wang discovered that when culture-loaded terms in the source text have little influence on comprehending the whole article, translators can find culturally equivalent words so that the target text will be more concise.

Wang also classified translation strategies into three categories: literal translation, non-literal translation, and translating words with unique cultural information.

The first strategy is literal translation. When there are words with similar cultural meanings, a literal translation is usually used. One type of literal translation is transliteral translation, which refers to the use of pinyin to translate culturally loaded words. Because transliteral translation preserves more cultural characteristics of the source language, it is frequently used in target text of the Big Breasts and Wide Hips. A translation strategy like this can help to avoid misinterpretation of the source language’s culture.

The second strategy is non-literal translation. This translation strategy is typically used in reader-friendly texts in the target language. Such a translation strategy does not adhere to the source text and overcomes constraints in language structure, which is a widely accepted strategy among targeted readers. Nonliteral translation strategies include explanatory notes both inside and outside the main body, including footnotes and tail notes. Filling-in translation is commonly used with literal translations, but it is also one of the non-literal translation strategies. Deletion refers to the practice of translators removing unnecessary words when the original meaning is unaffected.

The third strategy is to translate words that contain specific cultural information. Wang pointed out that idioms, aphorisms and maxims, two-part allegorical saying, the common saying, idioms and proverbs are the six major categories of idiomatic expressions. In many cases, the target text contains no words or phrases that are completely culturally equivalent to the source text.

===3. Analysis of Translation of Culture-loaded Words in ''Xi Jinping: The Governance of China''===
====3.1 Translation Strategy of Social Culture-loaded Words====

Social culture-loaded words reflect social ideology, which refers to the system in the form of social and economic factors in specific classes or groups. Social culture-loaded words encompass all aspects of social life, such as social activities, historical allusions, and festival customs. Words or phrases containing social culture-loaded words will emerge from a specific social context. As a result, it encompasses a wide range of word collocations. Political terms with Chinese characteristics, Chinese common saying, and rhetoric in Chinese are examples of social culture-loaded terms.

ST: 中国在人类发展史上曾经长期处于领先地位，自古以来逐步形成了一整套包括朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度、军事制度等各方面制度在内的国家制度和国家治理体系。

TT: Over a long period of history China led the world in development. It forged a complete set of state and governance systems covering the court, administration of prefectures and counties, land, taxation, civil service examination, supervision and the military.

“朝廷制度、郡县制度、土地制度、税赋制度、科举制度、监察制度” are institutions in the past of China that international readers may not be familiar with. In this case, the translators use literal translation by looking for words with similar meanings in the target language and the source language while adhering to the fidelity rule. “郡县” is translated into the modern expression of “prefectures and counties”. Such a translation strategy is in accordance with the principle of efficiency in dealing with cultural information. When the cultural information in the source text has limited influence on comprehending the entire passage, most translators will use a common strategy of finding words or phrases with similar meanings. By doing so, the original context's structure is not jeopardized, and the target text can adhere to the original meaning, which meets the fidelity rule’s requirement.

A similar strategy is adopted in translating “税赋” and “土地”. As for“税赋”in ancient China, the feudal land tax and taxation are included. However, the purpose of this excerpt is only to provide context for China's magnificent culture. Translators look for culturally equivalent words so that the target text is more precise and coherent. When translating “税赋”, since feudal land tax is a unique expression of the social system in ancient China and has little influence on the meaning of the whole passage, the translators use deletion and only translate the meaning of “税”. “土地制度” is also translated into the brief version of “land”, also using the strategy of deletion. Instead, inline annotation is used by translators when translating “科举制度”. “科举制度” is a unique examination system for public officials in ancient China, and it is difficult to find culturally equivalent words for it. To avoid misinterpretation from international readers, the translators explain this noun through explanatory notes, employing the Skopos rule to ensure effective cross-cultural communication. The translators take into account the cultural backgrounds of international readers and used culturally equivalent words in the target language. The goal of these two different translation strategies is to make cross-cultural communication easier. The Skopos rule and the coherence rule have been followed as a result of these strategies.

ST: 广大青年要坚定理想信念，志存高远，脚踏实地，勇做时代的弄潮儿，在实现中国梦的生动实践中放飞青春梦想。

TT: To all our young people, you should have firm ideals and convictions, aim high, and have your feet firmly on the ground. You should ride the waves of your day; and in the course of realizing the Chinese Dream, fulfill your youthful dreams.

“弄潮儿” is a common Chinese saying that originally referred to swimmers who swim against the tide but has since come to refer to people who are brave and entrepreneurial. This phrase has Chinese cultural characteristics and comes from a poem written during the Tang dynasty. This phrase was translated literally by the translators in accordance with the fidelity rule. The fidelity rule requires translators to avoid contradicting the original meaning of the source text while making the translation more understandable in light of the cultural differences. In the target text, the translators use literal translation to directly translate “弄潮儿”, implying that people should follow the trend of the times, which also meets President Xi’s extended meaning. Certain cultural information has its uniqueness, making it untranslatable. “弄潮儿” is a distinctive Chinese expression, and “ride the waves” refers to enjoying the advantage or benefit of a particularly successful, popular, fortunate or interesting moment. It can be difficult to find phrases that are completely culturally equivalent, so the translated version restored as much of the original information as possible, demonstrating how the fidelity rule is applied in the target text.

The above-mentioned social culture-loaded terms demonstrate a high level of adherence to the coherence rule and the Skopos rule, most likely due to the fact that social culture-loaded terms vary greatly across cultures. Target readers may find it difficult to interpret translations that strictly adhere to the fidelity rule, whereas translations that adhere to the coherence and Skopos rules can better facilitate cross-cultural communication. According to the appendix’s collected social culture-loaded terms, the majority of social culture-loaded terms used deletion, literal translation, and inline annotation. These three strategies allow international readers with limited knowledge of Chinese society to comprehend China’s policies and read the volume fluently.

====3.2 Translation Strategy of Material Culture-loaded Words====

Material culture-loaded words include material products and technology invented by human beings derived from the development of society. The third volume’s material culture-loaded terms can be divided into four categories: construction, items, literary works, and names. Most material culture-loaded terms use transliteration and amplification strategies when translating literary works and names, as well as substitutions when translating constructions and products. Materials can have a variety of meanings in different cultures. For example, in Chinese culture, the terms “勤务员” and “伙夫” are distinct expressions that may not have equivalent words or phrases in English. While translating these words, translators should be aware of expressions in Western culture with similar meanings.

ST: 中华民族伟大复兴，绝不是轻轻松松、敲锣打鼓就能实现的。

TT: Achieving national rejuvenation will be no walk in the park; it will take more than drum beating and gong clanging to get there.

East and Southeast Asian musical instruments include drums and gongs. Gongs and drums, with their symbolic meaning of hyping up, can be used in times of grand celebrations in Chinese culture. President Xi is emphasizing the difficult efforts that the Chinese people must make in order to achieve national rejuvenation. As a result, the translators use the translation strategy of addition to limit the boundaries the source text may transform so that the readers can have a more precise understanding, as shown in this excerpt by how the Skopos rule is applied. Meanwhile, the translators render the phrase as "drum beating and gong clanging," demonstrating the fidelity rule. The literal translation is used here to restore Chinese cultural connotations. The fidelity rule in translation requires equivalence in meaning and refers to word for word translation. In this case, the translators have kept the names of well-known Chinese musical instruments. At the same time, the translators explain their connotations, in order to maintain the fidelity of the target text to the source text and to improve cross-cultural communication. Understanding and conveying information of “rejuvenation is no easy task” to international readers is facilitated.

ST: 天宫、蛟龙、天眼、悟空、墨子、大飞机等重大科技成果相继问世。

TT: ... with major advances made in science and technology, including the successful launch of space lab Tiangong, the commissioning of the deep-sea manned submersible Jiaolong and of the five-hundred-meter aperture spherical telescope (FAST) Tianyan, the launch of the dark matter probe satellite Wukong and the quantum science satellite Mozi, and the test flight of the airliner C919.

In material culture-loaded terms, the aforementioned Chinese innovations fall under the category of "names." Tiangong, Jiaolong, Tianyan, Wukong, and Mozi are all important cultural figures in China, representing advances in science and technology. The translators use inline annotation to further explain these terms, demonstrating the application of the Skopos rule. This type of explanatory inline annotation takes into account English readers' understanding of Chinese culture-loaded terms. It is a limitation of language form of culturally loaded terms that also facilitates international readers' understanding of Chinese cutting-edge technology. Though the length of the article is longer, semantic conveyance can be realized through the explanation that Tianyan is the five-hundred-meter aperture spherical telescope, and the purpose of the book of showing international readers China’s accomplishments is achieved. The original names are faithfully conveyed through transliteration of these advances in science and technology. On the one hand, international readers can still see Chinese culture embodied in cutting-edge technology. Readers from different cultures, on the other hand, can still understand what these terms are thanks to inline annotation, which follows the Skopos and fidelity rules.

In these examples, the fidelity rule takes precedence over the skopos rule. Material culture-loaded terms are typically objects with Chinese characteristics. In most cases, these objects will have no effect on the coherence of the target text. As a result, fidelity to the original text and facilitation of cross-cultural communication are given top priority. Transliteration and inline annotation are the most widely used methods for translating material culture-loaded terms, demonstrating that translators prioritize preserving cultural information and making target text easily understood by international readers.

====3.3 Translation Strategy of Linguistic Culture-loaded Words====
Linguistic culture-loaded words reflect phonetic meaning of language at the language family level. In contrast to English, Chinese language, particularly idioms, typically uses four-character structures. Linguistic culture-loaded terms can be found in a variety of contexts. Linguistic culture-loaded terms include idioms, classical literary prose, the two-part allegorical saying, proverbs, and so on. Linguistic terms that are culturally loaded are more difficult for international readers to understand. As a result, translators must employ translation strategies that are both effective and skillful in order to facilitate cross-cultural communication.

ST: 鸦片战争后，中国陷入内忧外患的黑暗境地，中国人民经历了战乱频仍、山河破碎、民不聊生的深重苦难。为了民族复兴，无数仁人志士不屈不挠、前仆后继，进行了可歌可泣的斗争。

TT: But with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression; its people, ravaged by war, saw their homeland torn apart, and lived in poverty and despair. With tenacity and heroism, countless dedicated patriots fought, pressed ahead against the odds, and tried every possible means to seek the nation’s salvation.

In this excerpt, “战乱频仍”，“民不聊生”, “仁人志士”, “不屈不挠”, “前仆后继” and “可歌可泣” are Chinese idioms, with distinct national characteristics in language structure and expression. These idioms have a distinct origin in Chinese culture and are inextricably linked to national culture. It is not necessary to find culturally equivalent idioms in English when translating these idioms. The Chinese nation and Western countries share a wide range of values and aesthetics. If too many idioms are used in English translation, the same tired formulas will appear. The translations of these idioms are divided into two categories based on the coherence and fidelity rule. The first is deletion, and the second is literal translation. These idioms are intended to demonstrate that, even in difficult situations, Chinese patriots are willing to press on, which has a low chance of causing cultural misinterpretation for international readers. As a result, “战乱频仍”, “民不聊生”, “不屈不挠” and “前仆后继” adopt literal translations that improved the original meaning and demonstrated how the fidelity rule is applied. “仁人志士” is translated as “dedicated patriots” because, while it originally referred to people who were charitable, its meaning later evolved to patriots, which is also translationally adapted to the context. This translation eliminates ambiguity and allows for a more coherent reading experience. Meanwhile, “可歌可泣” was removed while translators worked from a results-oriented perspective and demonstrated the outcome of their struggle, which is "tried every possible means to seek the nation's salvation." The coherence rule was followed in this case by making the reading process for the target text readers smooth and interrupted.

ST: 应该风雨同舟，荣辱与共，努力把我们生于斯、长于斯的这个星球建成一个和睦的大家庭，把世界各国人民对美好生活的向往变成现实。

TT: We are in the same boat, and we should stick together, share weal and woe, endeavor to build this planet of ours into a single harmonious family, and turn peopled longing for a better life into reality.

The translators used two translation strategies in the passage: literal translation and full implication. These strategies adhere to the Skopos rule. When translating “风雨同舟” and “荣辱与共”，the translators restore the meaning of the two idioms, because these two idioms are an essential part of the source text in the construction of meaning. However, “生于斯、长于斯” has been translated into “the planet of ours", demonstrating the adoption of full implication. “生” and “长” are part of the process, and this process is implicated in the “the planet of ours”, which is a result-oriented structure. The translators omitted the process and presented the end results to international readers, restoring the meaning, by employing various translation strategies. The use of various strategies exemplifies the Skopos rule of facilitating cross-cultural communication.

The examples above show that the coherence rule and the skopos rule can be found frequently in the translation of these linguistic culture-loaded terms. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded terms. Linguistic culture loaded terms are words or phrases with distinct Chinese characteristics; thus, most translators adhere to the Skopos of improving cross-cultural communication and use literal translation and inline annotation to preserve cultural value. In some cases, the linguistic culture-loaded terms are too difficult to restore their implication; therefore, the translators used deletion and full implication to improve the reading experience of international readers, demonstrating the importance of the coherence rule in the target text. With the impression that international readers will be unable to fully comprehend the meaning of such cultur3-loaded words unless they have a basic understanding of the Chinese social, ecological, and cultural environment, translators should shoulder the responsibility of selecting different translation strategies under the guidance of the Skopos theory and constructing a bridge between different cultures.

====3.4 Translation Strategy of Ecological Culture-loaded Words====

Ecological culture-loaded words reflect the climatic features, natural environment and geographical conditions in an area. People from various regions have distinct expressions that reflect regional characteristics. There are three major categories of ecological culture-loaded terms: animals, plants, and places. Cows and oxen, for example, are animals that represent diligence and industriousness in China, whereas in Western countries, the expression "work all day like a donkey" is common. As is well known, the geographical environment of China gives rise to an agriculture-based culture with a large vocabulary for animals and plants. It explains why many idioms in Chinese and English have completely different meanings. To help international readers fully understand different cultures, translators should use different strategies when translating ecologically and culturally loaded terms. The following examples will demonstrate the use of translation strategy.

ST: 坚定不移“打虎”、“拍蝇”、“猎狐”

TT: We have taken firm action to “take out tigers”, “swat flies”, and “hunt down foxes”.

In Chinese culture, the tiger is both a revered entity and a hunted beast. Tigers are used as a symbol of vigor and vitality in Chinese idioms such as “虎虎生威” (forge ahead with the vigor and vitality of the tiger) and “生龙活虎” (with furious energy). Nonetheless, there are numerous expressions and literary works in which tigers are portrayed as ferocious villains, such as the stories of Wu Song or Li Kui beating tigers. President Xi Jinping’s expression here is reminiscent of tiger figures in fiction, in which heroes battle tigers. The image of a tiger has various meanings in Western culture as well. On the one hand, it is associated with beauty and power, but it has also been referred to as a man-eater on numerous occasions. Tigers are described as “burning bright” and “dare seize the fire”, but it also appeared in Jim Corbett's adventures in India, where he used to hunt "man-eaters," including tigers. Because the images of tigers are so similar, the translators used literal translation in their translation strategy under the rule of fidelity. To save space, translators will use literal translation when a targeted language has words with the same or similar cultural meaning as the source language. Meanwhile, the ecological culture-loaded term revealed the Skopos theory’s fidelity rule. “打虎”, “拍蝇” and “猎狐” are expressions with Chinese roots. Fighting corruption is like fighting tigers, flies, and foxes. Tigers and flies can refer to corrupt officials at various levels in these expressions, while the original meaning of the source text is preserved. It is difficult to find words in Western culture that are culturally equivalent to these ecologically loaded terms. Therefore, the translators did not change the meaning of source text by using literal translation. Such selection of translation strategy shows how fidelity rule is applied.

ST: 深入开展调查研究，解剖麻雀，发现问题。

TT: We should conduct in-depth research to identify prominent problems.

In Chinese culture, there is an old proverb of “麻雀虽小五脏俱全”, which means “A sparrow may be small but it has all the vital organs”. Sparrows can represent small but vital items, whereas such expressions are difficult to find culturally equivalent terms in Western culture. The similarity between “解剖麻雀” and “发现典型” is understandable in Chinese, but the literal translation of “anatomy of a sparrow” may be difficult to grasp for an international audience. As a result, translators use deletion to make target text more fluent without affecting the original text, and the coherence rule is demonstrated in the translation strategy selection. The translation of “解剖麻雀” is omitted, and the translation of “发现典型” encompasses the extended meaning of “sparrow as the major problems”. If both terms are translated, the English expression will be reductant and not conform to English expressions. According to the coherence rule, the author omitted the explanation of why sparrow means prominent problems to facilitate readers’ reading experience and made the reading uninterrupted.

The example above show that when translating ecological culture-loaded words, translators would consider three rules of the Skopos theory, with the coherence rule taking precedence. It is most likely because most ecological culture-loaded words are names of places or animals, which may be unfamiliar to international readers. To ensure that target readers read in a consistent manner. In translating ecologically loaded terms, the translators use literal translation (including transliteration, implication, and deletion). The mixed-use of translation strategies revealed various rules that are used in translation.

===4. Conclusion===

Since the publication of ''Xi Jinping: The Governance of China (Volume III)'', it has served as the Chinese government's authoritative voice and a window for the rest of the world to understand China's policies. It crystallizes Chinese governance theory and practices and has high research value.This thesis is concerned with the classification of culture-loaded words, their translation strategies, and how these strategies demonstrate the application of three Skopos theory rules.

The Skopos theory, according to the analysis of these examples, can be used as a guiding principle for translating texts similar to those in ''Xi Jinping: The Governance of China (Volume III)''. The Skopos rule states that the translation strategy is determined by the purpose of the target text. The coherence rule, also known as intertextual coherence, requires readability in the target text and will not cause dyslexia in grammar or logic. Using the fidelity rule, the target text should be faithful to the original text. However, the fidelity rule does not require literal word-for-word translations; rather, it necessitates flexibility on the part of the translator.

Following a brief examination, it is discovered that culture-loaded words in ''Xi Jinping: The Governance of China (Volume III)'' can be divided into four major categories, with social and linguistic culture-loaded words accounting for the lion’s share. The coherence rule is frequently demonstrated in the translation of ecological culture-loaded words. Names of places or animals are examples of ecological culture-loaded words. To achieve coherence in the target text, the translators employ literal translation (including transliteration), implication, and deletion strategies when translating ecological culture-loaded words. The fidelity rule and the Skopos rule are frequently seen in target text when translating material culture-loaded words. The majority of material culture-loaded words are objects with Chinese characteristics. Transliteration and inline annotation are the most widely used, demonstrating that translators prioritize being faithful and making target text understandable to international readers. The translation of social culture-loaded words demonstrates a high level of adherence to the coherence and Skopos rules, which is likely due to the fact that social culture-loaded words differ greatly across cultures. The majority of social culture-loaded words were deleted, literal translated, or annotated inline. These three strategies promote coherence in the target text, making it easier to read and comprehend. Linguistic culture-loaded words are words or phrases that have distinct Chinese features. When translating terms of this nature, the translator usually adhered to the coherence and Skopos rules. Literal translation, inline annotation, deletion, and full implication are the most common translation strategies used when translating linguistic culture-loaded words.

To sum up, different translation strategies are very important and indispensable. Different translators would adopt different translation strategies when translating culture-loaded words due to the constraints of history, politics, culture, language and translation objectives. In order to better carry out the translation and transmission of literature and culture, different translation strategies should be used together to supplement each other.

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