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		<summary type="html">&lt;p&gt;Ding Xuan: /* 程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons: make his parents feel warm in winter and cool in summer, serve them to go to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Marshgrass family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Marshgrass party has been all along the bully of Gold Mausoleum, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Rainvillage Merchant didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Gourd Temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Rainvillage Merchant had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:52, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Rainvillage Merchant remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:53, 29 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list, which contains the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:50, 30 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Rain-Village, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
At the same time, he took out a copy of &amp;quot;protecting official Fu&amp;quot; from shun's bag and handed it to Yucun. It was all the common words of the family of the local great family: Jia is true, and white jade is a horse made of gold for tang.&lt;br /&gt;
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
Efang Palace, 300 miles, can not live in Jinling a history. The East Sea lacks a white jade bed, the Dragon King came to invite the King of Jinling. A good year of snow, pearls like earth and gold like iron.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:43, 29 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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&amp;quot;You probably know where the murderer is hiding? &amp;quot; The doorman smiled and said, &amp;quot;to tell you the truth, I know not only the direction the murderer is hiding, but also the people who was abducted. The dead ghost buyer also knows. Let me tell you in detail:--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:34, 30 December 2021 (UTC)&lt;br /&gt;
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Maybe you know the direction in which the murderer is hiding.&amp;quot;The doorman said with a smile: &amp;quot;I don't want to hide it from the master, not only I know the direction in which the murderer is hiding, but also I know the person who abducted it, and the buyer of the dead ghost knows it well. WLet me talk to you in detail:   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 08:55, 30 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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human lives are merely some the minor matters, which will be properly dealt by his brothers and servants. Just leave that alone. Do you know who the girl is that was sold?&amp;quot; Yu Cun replyed:&amp;quot;How should I know?&amp;quot; Menzi laughed coldly and said, &amp;quot;This person is a great benefactor of you. My lordship! --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:33, 29 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple.&amp;quot; Yu Cun shocked: &amp;quot;So it's her! I heard that she was abducted at five, but why is she being sold recently?&amp;quot; Menzi said:&amp;quot;This kind of abductor abducts only young girls and raises them until they are 12 or 13 years old, then takes them to other places and sells them. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:20, 29 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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You only have to wait two or three days, so why should you be worried?' At these words, he was relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, she was sold to the Marshgrass.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:31, 29 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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If it had been sold Wiselotus Potterymaker to someone else, it would have been fine, but the situation was not so good for this Xue Pan, whom people called 'the Dull King'. He was a fop with a violent temper and a willful temper, who spent money like dirt. He only beat up Wiselotus Potterymaker and dragged her out roughly, and her death is still unknown.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:27, 29 December 2021 (UTC)&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Master Merchant and Master King in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Rain Village Merchant says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;What the Lordship says is true, but it is not possible to do it in the world today. Don't you know what the ancients said: 'A great man moves with the times.' And they also say, 'A gentleman is a gentleman who tries to avoid bad luck. According to you, not only will you not be able to serve the court, but you will also not be able to protect yourself, so you should think twice.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:11, 30 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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Djia Yu-tsun bowed his head for half a day before saying, &amp;quot;What do you think?&amp;quot; Mencius said, &amp;quot;I have a very good idea here: Your Lordship will sit in the hall tomorrow, just bluff, move the papers and issue the signatures to take the people.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:09, 30 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that the coscinomancy implied that the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 14:57, 30 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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Now Dragon Marshgrass suffered from a nameless disease and died because he was pursued by Feng Yuan's soul. The disaster is caused by the trickster so he will be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 15:05, 30 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;We should visit our relatives first during this trip to the capital Beijing. We can either go to your uncle‘s or your aunt‘s husband’s house because both of them are very spacious. Wouldn't it be better if we stay there for the moment and then send someone to clean up the house?&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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Dragon Marshgrass said: &amp;quot;Now that uncle gets promoted to another province, it's only natural for the household to be bustling about. Wouldn't it be inconsiderate if we come to visit him at this particular moment?&amp;quot; His mother answered:&amp;quot; Be that as it may, we can still go to your aunt's husband's house.&amp;quot;--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
&lt;br /&gt;
Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
Lady King knew that it was not difficult to solve this problem, thus agreeing to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was delicate , but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 11:30, 30 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
There was another gate to the street, through which Dragon Marshgrass's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
There was another door leading to the street, and Dragon Marshgrass's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Lady King's main house. Every day, after dinner or in the evening, Aunt Marshgrass came over, chatting with Grandma Merchant, or narrating with Lady King.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
&lt;br /&gt;
During the day, Precious Hairpin Marshgrass was in peace with Mascara Jade Forest and her sister Pring Pleasure Merchant, reading a book, playing chess, or doing stitches. It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
&lt;br /&gt;
During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
&lt;br /&gt;
at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
&lt;br /&gt;
Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Dragon Marshgrass is ten times worse than that day. Although Master Merchant correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Treasure Merchant, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess; Moreover, the Pear Fragrance Court is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
What will happen eventually? The monk in the ground temple will abuse the law.&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
&lt;br /&gt;
Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
&lt;br /&gt;
Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
&lt;br /&gt;
''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
女红：又作“女工”或“女功”。&lt;br /&gt;
&lt;br /&gt;
Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
是指纺织、缝纫、刺绣等。&lt;br /&gt;
&lt;br /&gt;
Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=134771</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=134771"/>
		<updated>2021-12-29T12:06:49Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Chapter 10 : Translation of Culture-Loaded Words in The Concubine Market of Yangchow  of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : On Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze the translation of culture-loaded words in ''The Concubine Market of Yangchow'' in Lin Yutang's English version based on Newmark’s translation theory. Surrounding this theme, much background information was initially discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Then, translation of culture–loaded words in ''The Concubine Market of Yangchow'' are discussed from the perspective of semantic translation and communicative translation put forward by Newmark. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, made certain contributions to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
本论文的主题是基于纽马克的翻译理论去探析林语堂英译本《扬州瘦马》中的文化负载词的翻译。围绕此主题，预先讨论了大量背景知识，如张岱以及《扬州瘦马》的介绍，文化负载词的定义以及奈达对文化负载词的分类，纽马克的翻译理论等等。此后，从纽马克提出的语内翻译和交际翻译的角度去剖析《扬州瘦马》中的文化负载词翻译。林语堂的《扬州瘦马》的英译本——一篇写于明朝的散文，对中国文化传播走向世界做出了一定的贡献。对于此疑问——如何翻译文化负载词、更好地传播中国文化——在此论文中得到解答。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
纽马克翻译理论；文化负载词；《扬州瘦马》；林语堂&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
“Concubine market” refers to a place where people bought beautiful girls from poor families, taught them skills of women and courtesy, cultivated them how to be good wives, and sold them to the rich as concubines. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient times.    --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:02, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
&lt;br /&gt;
====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
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“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
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Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
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(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
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A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
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One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
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Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
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(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
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“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
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Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
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The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
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“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
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Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:51, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
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		<title>20211229 homework</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* 程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:50, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yue-ts'un felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally  with the help of Jia Mansion and Wang Mansion. Dragon Marshgrass is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Yucun says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
&lt;br /&gt;
No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
&lt;br /&gt;
So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
&lt;br /&gt;
Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
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There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
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There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
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At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
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Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;br /&gt;
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Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134754</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134754"/>
		<updated>2021-12-29T11:48:48Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Mascara Jade Forest is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Precious Jade Merchant wrote &amp;quot;Pingping&amp;quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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This means that children must warm the bedding for their parents in winter, cool the bed mats for their parents in summer, greet their parents every morning, and serve their parents to sleep well at night. It generally refers to the meticulous respect of children to their parents. Therefore, &amp;quot;introspection&amp;quot; is an abbreviation of &amp;quot;morning introspection&amp;quot;. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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Mascara Jade Forest, for we shall now return to our story, having come, along with her cousins to Lady King's apartments, found Lady King  discussing certain domestic occurrences with the messengers, who had arrived from her elder brother's wife's home, and conversing also about the case of homicide, in which the family of her mother's sister had become involved, and other such relevant topics. Perceiving how pressing and perplexing were the matters in which Lady King was engaged, the young ladies promptly left her apartments, and came over to the rooms of their widow sister-in-law, Silk Plum.&lt;br /&gt;
This Silk Plum had originally been the spouse of Bead Merchant. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 08:30, 29 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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Although Mascara Jade was now living here as a guest, she had the company of these couins and sisters-in-law. She had nothing to worry about, except for her old father. Now Rainvillage Merchant was assigned as the officer in the God Promise Mansion. As soon as he arrived, there was a lawsuit for human life on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury. He then took the plaintiff to trial.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 08:41, 29 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Rainvillage Merchant said, “You look so familiar, but I can’t remember you at once.” the door man  laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Rainvillage Merchant felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yue-ts'un felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that it would not offend anyone if you just sat down.&amp;quot; The doorman thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 11:20, 29 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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“Mr. Feng’s dream stamped in the dust, but not only did the wish not come true, but it also cost a lot of money and even lose his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Pity Zhen?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 08:37, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Finally, Pity Zhen could  get rid of the miserable life after being tortured by the trafficker for so many years. As Xue Pan is an amorous person, it would be a good thing if she could marry to him. However, such an unexpected thing deliberately happened. Even if the Xue family is richer than the Feng family, but think of his moral quality, he must be a man with many concubines and indulge himself in a luxury and incontinent life. In addition, He may not be devoted to only one person as Feng Yuan would do.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 07:55, 29 December 2021 (UTC)&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally  with the help of Jia Mansion and Wang Mansion. Dragon Marshgrass is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Yucun says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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Rain Village Merchant said:&amp;quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&amp;quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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The murderer could not get it. The plaintiff did not follow it. He only took a few of Xue family and slave servants to torture them; I was secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over by close family and local community.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:45, 29 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Dragon Marshgrass should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Rainvillage Merchant laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Rainvillage Merchant questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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What about this plan, Master?&amp;quot; Yu Cun laughed, &amp;quot;No, it's not good. I'll have to think about it again, so that I can convince them.&amp;quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.&lt;br /&gt;
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Seeing  Feng with such a small population, they wanted to get some silver to burn and bury, but the Xue, relying on their power and affection, did not give in: so the case was reversed. Rain Village then bent the law and judged the case haphazardly.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 09:01, 29 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Master Merchant and Soar King,and said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters to Master Merchant and Soar King, and said &amp;quot;things about your nephew has been finished, do not need to worry about&amp;quot; words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Rainvillage was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Rainvillage pick holes in him , and banished him far away. Now, there was no one talking about bad things about Rainvillage.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Dragon Marshgrass, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Precious Hairpin Marshgrass, two years younger than Dragon Marshgrass.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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Recently, in order to respect culture, promote etiquette and explore talents,the Emperor held learning and propriety in high esteem, in addition to selecting consorts and ladies-in-waiting, , the daughters of families of hereditary official status and renown were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 07:54, 29 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Dragon Marshgrass's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Dragon Marshgrass was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Dragon Marshgrass, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Pity Zhen. Seeing that Pity Zhen was pretty, Dragon Marshgrass decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of Pear Fragrance Court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Pear Fragrance court that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Lady King originally wanted to stay. Grandma Merchant also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 07:56, 29 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and explicated  to Lady King privately, &amp;quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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Lady King knew that it was not difficult to solve this problem, so she agreed to come down. From then on, the mother and daughter of the Marshgrass family lived in the Pear Fragrant Court. It turned out that the pear Hyangwon used to be the residence of King Yeongguk when he retired. It was small, but there were about a dozen houses with a complete front hall and back yard.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:49, 29 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
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There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
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There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month，Dragon Marshgrass to be on intimate relations with all the young men among the kindred of the Jia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
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At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
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Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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Female Red: also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;br /&gt;
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Refers to textiles, sewing, embroidery, etc.  --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211208_homework&amp;diff=134752</id>
		<title>20211208 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211208_homework&amp;diff=134752"/>
		<updated>2021-12-29T11:43:21Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。&lt;br /&gt;
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&amp;quot;We talked for a while and give me two bundles of silver when leaving.&amp;quot; Hearing this, Mrs. Zhen feel sad and keep silent the whole night.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 07:03, 9 December 2021 (UTC)&lt;br /&gt;
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“After talking for a while, he gave me two Liang of silver before he left. &amp;quot; The Zhen lady listened and felt sad. I was kept silence all night.&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:08, 9 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。&lt;br /&gt;
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The next day, Jia Yucun armer Gelehrter sent two bundles of silver and four brocades to thank the Zhen lady; Another secret letter to Feng Su Bauer asked him to ask the Zhen lady for the delicate HM Lucky as concubine. Feng Su Bauer was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:01, 4 December 2021 (UTC)&lt;br /&gt;
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The next day, Yucun sent two bundles of silver and four brocades to thank  Zhen lady; He also sent another secret letter to Feng Su, asking him to ask Jiaoxing, the daughter of Zhen Lady, to be his second wife. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:56, 5 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。&lt;br /&gt;
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One evening, Jiaoxing was sent to prison by a small sedan carriage. Undoutedbly, Yucun was very pleased and gave hundreds of golds to Fengsu and many gifts to Zhen's wife so that she can live by herself untill her daugther was found.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 11:17, 4 December 2021 (UTC)Chen Huini&lt;br /&gt;
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At that very night he put Jiaoxing in a small sedan-chair and escorted her to the yamen. We don't need to imagine Yucun's satisfaction.He gave Feng Su a hundred pieces of gold and sent Mrs. Zhen many gifts, telling her to take good care of herself that she can find her daughter.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:11, 7 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。&lt;br /&gt;
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Now Jiaoxing was the maid who had looked back at Yucun that year, little dreaming that one casual glance could have such an extraordinary outcome.And so lucky she was that wthin a year of marriage she bore a son; and after another half year Yucun's wife was very ill and died, and then he made Jiaoxing his wife, giving her higher position.&lt;br /&gt;
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It was said that the girl Jiaoxing, was the one who looked back on Yucun. Because of of a casual glance, they made this fantastic destiny, which was also an unexpected thing. Who knew that his fate was so unpredictable: she was so lucky that wthin a year of marriage she bore a son; and after another half year Yucun's first wife suddenly died of an illness, and then he took Jiaoxing as his principal wife.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 14:16, 12 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. But because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of silver given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:33, 4 December 2021 (UTC)&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. And because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of tael given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 05:01, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。&lt;br /&gt;
Although he was very capable, he was a bit accustomed to corruption, was too harsh on his subordinates, and relied on his outstanding talents, and showed little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was got goods by his superior and wrote these things into a memorial to the throne, saying that he was cunning by nature, tampering with etiquette privately; and writing down one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:54, 12 December 2021 (UTC)&lt;br /&gt;
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Although capable, he was a bit accustomed to corruption,  too harsh on his subordinates, relying on his outstanding talents, showing little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was accused by his superior of his cunning by nature, tampering with etiquette privately and mention of one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:03, 12 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Rainvillage was smiling as often without any complaint complexion.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 02:29, 8 December 2021 (UTC)&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Rainvillage was still smiling without any complainment on the face.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:37, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。&lt;br /&gt;
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After giving official business,leaving the family his accumulated salary for several years and settled them in native home, he had given up high official positions and riches and travelled the famous historical sites everywhere.One day he arrived Weiyang（Yangzhou，Jiangsu Province，China）by accident and heared about the present salt administration officer was Lin Ruhai Salzinspektor.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:23, 5 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。&lt;br /&gt;
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This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently designated by Imperial appointment as a Censor attached to the Salt Inspectorate, and had arrived at his post only a short time.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 15:06, 12 December 2021 (UTC)&lt;br /&gt;
This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently named by Imperial appointment a Censor attached to the Salt Inspectorate, and had arrived at his post only a short while back.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:33, 12 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。&lt;br /&gt;
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In fact, the ancestors of Lin Ju-hai had, from years back, successively inherited the title of Marquis, which rank, by its present descent to Ju-hai, had already been enjoyed by five generations. When first conferred, the hereditary right to the title had been limited to three generations; but of late years, by an act of magnanimous favour and generous beneficence, extraordinary bounty had been superadded; and on the arrival of the succession to the father of Ju-hai, the right had been extended to another degree. It had now descended to Ju-hai, who had, besides this title of nobility, begun his career as a successful graduate. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:55, 5 December 2021 (UTC)&lt;br /&gt;
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In fact, one of Lin Ju-hai's ancestors five generations earlier had been ennobled as a marquis. The title was originally limited to three generations, but through an act of magnanimous favour and generous beneficence of the Emperor, it had been extended to Lin Ju-hai’s father. Now Lin Ju-hai himself had been obliged to make his way up through the examination system.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:21, 5 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. He was fifty already, and his only child had died last year at the age of three.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:53, 5 December 2021 (UTC)&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. Now he was fifty years old, and had only a three-year-old son, who died last year.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:13, 10 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。&lt;br /&gt;
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Although he had several concubines, he was doomed to have no son (to inherit the family line). Only lady Jia, his legal wife, gave birth to a daughter, Mascara Jade Forest, aged five. The couple doted on their daughter like a pearl on the palm of their eyes. Lin Ruhai wanted to teach him to read, because he was smart and handsome, and Lin Ruhai wanted to ease the loneliness of not having a son by pretending to adopt him.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:55, 5 December 2021 (UTC)&lt;br /&gt;
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Although he had several concubines, he had no son in his life, and nothing could be done about it. The first wife, Min Merchant, had a daughter named Mascara Jade Forest, who was five years old and loved by the couple as a jewel. Seeing that she looked smart and beautiful, they also wanted to make her literate, but raised her as a son to relieve the sorrow of no son. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:44, 5 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。&lt;br /&gt;
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The story goes that Rainvillage Merchant caught a cold at the inn and recovered. He wanted to get a place to stay but he could not afford the fee. He met two old friends who got acquainted the new official of salt (Ruhai Forest) and knew that Forest was about to hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:57, 5 December 2021 (UTC)&lt;br /&gt;
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The story goes that Jia Yucun caught a cold occasionally at the inn, after recovering his money almost running out. He wanted to get a place to rest himself. He came across two old friends who acquainted with the new official of salt, knowing that he would hire a tutor for his daughter, so they recommended Jia Yucun to the government office.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:39, 12 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。&lt;br /&gt;
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The girl student was young and in poor health, the number of her assignments unnessesary with two servant girls, so Yucun needed less effort and could convalesce. Unexpectedly, the girl's mother, Ms.Jia died of illness after nearly a year.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:06, 12 December 2021 (UTC)&lt;br /&gt;
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The female pupil was youthful in years and delicate in physique, so that her lessons were irregular. There were only two waiting girls, who remained in attendance during the hours of study, so that Yue-ts'un was spared considerable trouble and had a suitable opportunity to attend to the improvement of his health.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:50, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。&lt;br /&gt;
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The girl was dutiful in her attendance during her mother's sickness, and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Being unable for a considerable time to prosecute her studies, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals.One day by some accident, walking beyond the suburbs he came up to a spot encircled by luxuriant clumps of trees and thick groves of bamboos.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:07, 5 December 2021 (UTC)&lt;br /&gt;
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During her mother's sickness, the girl was dutiful in her attendance and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Unable  to prosecute her studies for a considerable time, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals. One day by some accident, he walked to the countryside to enjoy the scenery.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:12, 6 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。&lt;br /&gt;
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He walked to a place with luxuriant woods and bamboo groves which is surrounded by hill and streams.And there was a temple half hidden among the foliage whose entrance was in ruins and walls were crumbling. There was an inscription above the gate: Zhi tong Temple. And flanking the gate was a couplet: Though plenty was left after death, one forgot to hold his hand back. Only at the end of the road does one think of turning on to the right back.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:04, 6 December 2021 (UTC)&lt;br /&gt;
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Walking to a place surrounded by mountains, swirling water and lush forests and bamboos, there is a temple. The doors and alleys are falling and the walls are peeling off. There is a forehead titled &amp;quot;Zhitong Temple&amp;quot;, and there is an old broken couplet beside the door: I forgot to withdraw my hand behind me, and there is no way to turn back.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:02, 6 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。&lt;br /&gt;
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Rainvillage Merchant looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.&lt;br /&gt;
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Rainvillage Merchant looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 03:22, 6 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.&lt;br /&gt;
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When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care about him. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:33, 8 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”&lt;br /&gt;
He wanted to go to the village pub for a drink, for the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”&lt;br /&gt;
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He wanted to go to the village pub for a drink to take the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:28, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。&lt;br /&gt;
Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng. They met in the city before. Yucun praised him as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng who he’ve met in the city before. Yucun praised him most as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:34, 13 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Yue-ts'un eagerly inquired also smilingly. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is positively a strange piece of good fortune.&amp;quot; &amp;quot;I went home,&amp;quot; Tzu-hsing replied, &amp;quot;at the end of last year, but now as I return to the capital again, I passed through here on my way to look up a friend of mine and talk some matters over.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:39, 6 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Yue-ts'un eagerly and smilingly inquired. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is a strange piece of good fortune.&amp;quot; &lt;br /&gt;
&amp;quot;I went home,&amp;quot; Tzu-hsing replied, &amp;quot;about the close of last year, but now as I am again bound to the capital, I passed through here on my way to look up a friend and have a chat.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:20, 8 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。&lt;br /&gt;
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He had the kindness to press me to stay with him for a couple of days longer. As I also have no urgent business to attend to, I am tarrying a few days, but purpose starting about the middle of the moon. My friend is busy today, so I roamed listlessly as far as here, never expecting of such a fortunate meeting.&amp;quot; While speaking, he invited Yue-ts'un to sit down at the same table, and ordered a fresh supply of wine and eatables. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:21, 8 December 2021 (UTC)&lt;br /&gt;
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“He was so kind that he asked me to stay for another couple of days. As I had no other urgencies to attend to, I stayed as he expected. When we chatted til the moon was high above the sky, I got up and left alone. My friend is busy today, so I roamed listlessly as far as here, never expecting such an encounter.&amp;quot; While speaking, he invited Yue-ts'un to sit down with him, and ordered a fresh supply of wine and dishes.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 07:52, 11 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”&lt;br /&gt;
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Over drinking, they two talked about some plans of the near future after the farewell. Then Yucun asked: Is there anything new in the capital city? Zixing answered，“Nothing new. But in your dignified remote relative's house there is indeed a strange thing.”--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:49, 4 December 2021 (UTC)&lt;br /&gt;
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They two drank and talked about some plans of the near future after the farewell. Then Yucun asked: &amp;quot;Is there anything new in the capital city?&amp;quot; Zixing answered，“Nothing new. But there happened a strange thing in your dignified remote relative's family.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”&lt;br /&gt;
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Rain-Village laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, are you not a family?” Rain-Village asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:20, 12 December 2021 (UTC)&lt;br /&gt;
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Yucun laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, aren’t  you the same family?” Yucun asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:48, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”&lt;br /&gt;
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Yucun said: &amp;quot;It's his house. If discussed explicitly, the people of Han's family were of great quantity since the Eastern Han Dynasty of Jiafu. Their branches were numerous in each province, who can examine one by one? If only discussed the branch of Rongguo, they were the same. But the Rongguo were glorious, it was inconvenient for us to make a connection with them, so we were getting more and more unfamiliar. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 08:22, 4 December 2021 (UTC)&lt;br /&gt;
Yucun said: &amp;quot;It turned out to be his family. If you talk about it, there are many Han people. Since the Eastern Han Dynasty, the tribe has been prosperous and there are all provinces. Who can examine it carefully? . But he is so glorious, it is inconvenient for us to recognize him, so we have become more and more estranged.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:02, 6 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”&lt;br /&gt;
Zi Xing sighed, &amp;quot;Old Mr. Xiu said this. The Rong and Ning residences are now depressed, not as good as the previous conditions.&amp;quot; Yucun said: &amp;quot;The Ning and Rong residences had a large population that day. Is it done?&amp;quot; Zi Xing said: &amp;quot;Exactly, it's a long story.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:01, 6 December 2021 (UTC)&lt;br /&gt;
The son sighed: &amp;quot;This is what old Hugh said. The provinces of Rong and Ning are now deserted, not as they were in the past.&amp;quot; Rain village way: &amp;quot;that day ning, rong two house population is also very much, how then deserted?&amp;quot; Zi Xing said, &amp;quot;Exactly. It's a long story.&amp;quot;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:33, 7 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。&lt;br /&gt;
Yu Village road: &amp;quot;Last year when I went to Jinling, because I wanted to visit the ruins of the Six Dynasties, that day into the Stone city, from the front of his house through: street east is Ning Guo Fu, street west is Rong Guo Fu, two houses connected, unexpectedly occupied half of the street.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:32, 7 December 2021 (UTC)&lt;br /&gt;
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Yucun said, &amp;quot;when I came to Jinling last year, I wanted to visit the ruins of the Six Dynasties. On that day, I entered the stone city and passed in front of his house: Ningguo house is in the east of the street, Rongguo house is in the west, and the two houses are connected, occupying more than half of the street.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:35, 7 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”&lt;br /&gt;
Although deserted outside the gate, across the wall to see the hall hall pavilions, are also lofty xuan Jun; Even in the garden at the back, the trees and rocks were all luxuriant: it did not look at all like a run-down house--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:57, 5 December 2021 (UTC)&lt;br /&gt;
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Although deserted outside the gate, the hall and pavilions were also lofty and grand seen across the wall.Even in the garden at the back, the trees and rocks were all luxuriant: how did it look like a run-down house?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:14, 7 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。&lt;br /&gt;
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Zi Xing laughed and said, &amp;quot;You are a scholar but know nothing about its cause. There is an ancient saying: ‘old institutions die hard'. Now, though not as prosperous as in previous years, the atmosphere is different from that of ordinary officials.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:09, 7 December 2021 (UTC)&lt;br /&gt;
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Zi Xing chuckled, &amp;quot;You are a scholar but know nothing about its cause. As a old saying goes, ‘old institutions die hard’. Now, though not as prosperous as before, the splendor is different from that of ordinary officials.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:51, 8 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。&lt;br /&gt;
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Their family members are growing, their commitments are increasing, and both masters and servants are used to lavishly controlling it. However no one thinks of the future. They squander money every day and can't save at all. On the surface, they look as noble as before, but their wallets are almost empty. However, this is not their biggest trouble.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:46, 8 December 2021 (UTC)&lt;br /&gt;
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In Jia Mansion, there are many people to bring up, and household duties are getting more and more day by day. Masters and servants, from top to bottom, enjoy glory and wealth but no one to plan. They squander money every day and can't save at all. Although they still extravagant on the surface as ever, their wallets are almost empty. and this is not counted the biggest trouble.     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:47, 8 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”&lt;br /&gt;
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There is one more important event: Who knows that the children of such a luxurious family, the children and grandchildren are not as good as previous generations.&amp;quot; When Yucun heard about it, he also said: &amp;quot;Is there any reason for such a family who always study and pay attention to ethics for generations is bad at education? Although I don't know the situation of other families, it is said that Ning and Rong are the most skillful in teaching children. How did they get to such a situation ? &amp;quot;     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:37, 7 December 2021 (UTC)Liu Wei&lt;br /&gt;
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That's not the worst thing. Who will know that the children of such a noble clan can be inferior to the last.&amp;quot; Hearing about that, Yucun replied:&amp;quot;a family so cultures and versed in etiquette doesn't know the importance of education? Although I don't know other families, I've always heard that these two houses take great efforts to educate their children. How did they fall to such a situation?&amp;quot;--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 12:45, 8 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；&lt;br /&gt;
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&amp;quot;It's these two houses I'm talking about!&amp;quot; Son Prosperity signed, &amp;quot;Just let me tell you: the Duke of Ningguo and the Duke of Rongguo were brothers by the same mother. The Duke of Ningguo, the elder, had two sons, and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:14, 6 December 2021 (UTC)&lt;br /&gt;
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Zi Xing sighed, &amp;quot;I was about to say something about these two families! Let me tell you: the Duke of Rongguo, as he is now called, had two brothers from the same mother. Lord Ning was the eldest brother and had two sons，and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:32, 10 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now he devoted himself only to Taoism and alchemy, and did nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant, for his father had set his heart on becoming a fairy, so he succeeded to the position.  --[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:30, 4 December 2021 (UTC)&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now Honor Merchant devotes himself entirely to Taoism and alchemy, and does nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant. For his father has set his heart on becoming immortal, Treasure Merchant succeeded to the position. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:36, 11 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。&lt;br /&gt;
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His father refused to stay at home, but rather preferred to fool around with those Taoist priests. This Master Treasure Merchant also has a son called Prosperity Merchant, who’s only 16 years old. Nowadays Lord Honor Merchant is no longer in charge. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:27, 11 December 2021 (UTC)&lt;br /&gt;
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His father is unwilling to live at home, but prefers to wander around the city to fool around with those Taoist priests. Mr. Zhen also has a son named Jia Rong who is 16 years old. Now, Lord Jing is no longer in charge. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:42, 12 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。&lt;br /&gt;
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Mr. Zhen would not do any proper thing but to amuse himself. Even if he turns the Ning Mansion upside down, no one there dares to stop him. Then I will tell you about Rong Mansion where the strange thing that I just mentioned happened. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:24, 12 December 2021 (UTC)&lt;br /&gt;
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Mr Zhen would not do any his proper business，but only amuse himself，and  though he  turned rabbit in Ning Mansion，there is no one who dare to limit him.And I must tell you that some queer things just happen here.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:04, 12 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。&lt;br /&gt;
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Since the death of Rong Gong, the elder son Jia Daishan inherited the official title and get merried with the daughter of an aristocratic family in Jinling. They have two sons: the elder son is called Jia She, the second son is called Jia Zheng. Now Jia Daishan has already passed away with his wife still alive. --[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:06, 9 December 2021 (UTC)&lt;br /&gt;
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Since the death of Lord Rong（Jia Yuan), the elder son Jia Daishan inherited the official title and married Shi Hou’s daughter from an aristocratic family in Jinling  as his wife. They had two children: the elder son named Jia She, and the second named Jia Zheng. Today Daishan has long passed away, and his wife is still alive.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 02:02, 8 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。&lt;br /&gt;
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The eldest son, Jia She, inherited the official position from his ancestors but  he was not top-notch and did not manage the family affairs as well. Only his second son, Jia Zheng, loved to read since childhood and was a man of upright. His grandfather (Jia Yuan) like him the most and originally planed to let him take the imperial examination before becoming an official.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:02, 4 December 2021 (UTC)&lt;br /&gt;
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Their elder son Jia She inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Jia Zheng, was fond of studying as a child and was a man of upright so that he was his grandfather’s (Jia Yuan) favorite, and he hoped to make a career for himself through the imperial examinations. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:05, 4 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。&lt;br /&gt;
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Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons there were and ordered them to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:40, 4 December 2021 (UTC)&lt;br /&gt;
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Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons he had and ordered his sons to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:53, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。&lt;br /&gt;
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Mrs. Wang --- the wife of Lord Zheng. Their first child was a son named Jia Zhu, who entered school at the age of fourteen, then married and gave birth to a son, who died of an illness before the age of twenty. The second child was a young girl, born on the first day of the year. It was very surprising.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:45, 4 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang --- the wife of Master Merchant gave birth to her first child a boy named Bead Merchant, who entered school at the age of fourteen, then married and got  a son. But Jia Zhu died of an illness before the age of twenty. The couple’s second child was a girl born on the first day of the year, which was surprising.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”&lt;br /&gt;
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Surprisingly, Mrs Wang gave birth to a boy after more than ten years and it is even strange that the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:25, 6 December 2021 (UTC)&lt;br /&gt;
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Surprisingly, after an interval of more than ten years, Mrs Wang gave birth to another male child, and even more miraculously, the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:22, 6 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of history.&amp;quot; Zi Xing laughed coldly and said, &amp;quot;Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Zheng tested his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:17, 6 December 2021 (UTC)&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of fame&amp;quot; Zi Xing laughed ruthlessly and said, &amp;quot;Everyone says like this, so his grandmother loves him like a treasure. When Jia Baoyu was one year old, Mr. Zheng wanted to test his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:46, 7 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说&lt;br /&gt;
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But he didn't catch anything, only reach his hand for some powder,hairpin and ring to play. Mr.Zheng was not satisfied with his action,and thought him as a gambler in the future.Therefore, Politic Merchant didn't show his preference toward Precious Jade Merchant,but that Grandma Merchant still regarded him as her treature,and said:--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:01, 7 December 2021 (UTC)&lt;br /&gt;
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However, he did not take any of them, but only reached his hands out for some powders, hairpins and rings to play with. That action did not please  sir Zheng at all, what’s more, sir Zheng said he would be only a voluptuary in the future. Therefore, sir Zheng did not particularly cherish Baoyu, however, lady dowager still loved him as if he was the most preciou treasure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 05:28, 8 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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说来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’&lt;br /&gt;
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Strange to say: now he is ten years old, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, ‘Girls are made of water, men of mud. He will feel debonaire when  he see girls, but when he see men, what he can feel is only squalidness.’--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:34, 5 December 2021 (UTC)&lt;br /&gt;
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It's strange to notice that now he is ten years more older, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, &amp;quot;Girls are made of water, men of mud. I qwill feel debonaire when I see girls, but when I see men, what I can feel is only squalidness.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:18, 5 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。&lt;br /&gt;
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&amp;quot;Don't you think it's ridiculous? He or she will be a lecher in the future undoubtedly.&amp;quot; Jia Yucun said with a serious look: &amp;quot;Not true. Unfortunately, you do not know the identity of this person, may be the old senior Master Merchant may also wrongly regard him or her as a lewd.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:14, 5 December 2021 (UTC)&lt;br /&gt;
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“Have you realized the facetiosity of it? He or she will be beyond all doubt a lecher.” Rain Village Merchant said with stern countenance: “ it is absolutely not the truth. It is a pity that you are insensible of the background of this person and senior Master Merchant may also mistakenly regarded him or her as a lewd demon”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:59, 5 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。&lt;br /&gt;
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If someone was not well-read, knowledge-inquiring and truth-enlightening, he or she would be ignorant of it. Son Prosperity believed that Rain Village Merchant took it so seriously that he was bursting with impatience to make clear the reasons within it. Rain Village Merchant asserted: “the universe gives birth to mankind that boasts no differences except the benevolent and the evil.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:36, 5 December 2021 (UTC)&lt;br /&gt;
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If someone was not well-read, knowledge-inquired and truth-enlightened, he or she would be ignorant.After seeing that Yucun took it so seriously, Zixing couldn't wait to ask him the reasons.Yucun asserted: “The universe gives birth to mankind that boasts no differences except the benevolent and the evil.&amp;quot;--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:24, 5 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；&lt;br /&gt;
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The great benevolence was born in the time of good fortune,the great evil was born in the time of bad fortune. The former was benefit to the world,the latter was harmful to the world.Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, were all born at the historic moment of good fortune；--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:20, 5 December 2021 (UTC)&lt;br /&gt;
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If the great benevolence emerged as the times demanded, the great evil was born emerged as the calamity demanded. The former was beneficial to the world, while the latter was harmful to the world. Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, all born emerged as the times demanded.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:57, 5 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。&lt;br /&gt;
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Chiyou, Gonggong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan, and Qin Hui all emerged as the calamity demanded. Great benevolence governs the world, great evil disturbs the world. Be sober-minded and full of ingenuity, absorbing the righteousness of heaven and earth are the characteristics of merciful men; on the contrary, be cruel and eccentric, absorbing the evil of heaven and earth, are the characteristics of wicked men.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:41, 5 December 2021 (UTC)&lt;br /&gt;
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Chi You, Gong Gong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Hui were all born in response to the tribulation. Those who are benevolent cultivate and rule the world, while those who are evil disturb the world. The clear, bright, spiritual and beautiful, the righteousness of heaven and earth, is held by the benevolent; the cruel and perverse, the evil of heaven and earth, is held by the evil.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, there are many people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:40, 4 December 2021 (UTC)&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit are numberless. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:58, 12 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；&lt;br /&gt;
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His cruel and evil spirit could not overflow in broad daylight, so it condensed and filled deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace of half a wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, right should not be evil, evil should be jealous of right, and the two are not the same;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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Its cruel and evil spirit could not overflow in the light of the day, so it condensed and filled in deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace or half wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, the right is incompatible with the evil, and the evil should be jealous of the right, and the two are on the opposite sides.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:59, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。&lt;br /&gt;
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Like the wind, water, thunder, lightning meeting each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once it lets off, people will be endowed with evil influence. If men and women were both born on this air by accident, they cannot be up to benevolent gentlemen or down to villains.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:59, 5 December 2021 (UTC)&lt;br /&gt;
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If wind, water, thunder, lightning meet each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once the evil air is let off, people will be endowed with it. If men or women are born with this air by accident, they cannot be up to benevolent gentlemen or down to extremely vicious villains.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:13, 6 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。&lt;br /&gt;
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This kind of persons are usually outstanding. Their intelligence and beauty are above thousands of people. And their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be persons of constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be used by ordinary people.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:12, 6 December 2021 (UTC)&lt;br /&gt;
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This kind of people are usually prominent. Their intelligence and beauty are above millions of people. But their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be people with constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be controlled by ordinary people.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:15, 9 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”&lt;br /&gt;
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Such as the previous generation Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun: they are the kind of people born when the rectitude and the evil spirits fight each other. This kind of people has both the rectitude and the evil spirits.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 11:37, 5 December 2021 (UTC)&lt;br /&gt;
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Like the previous generation: Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun. Though this kind of people didn’t live in the same period of time, didn’t have the same experience, they had the same ambition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。&lt;br /&gt;
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Antiquary said: “ As you said, the winner will be the duke, and the loser will be the traitor?”Rainvillage Merchant said: “ This is what I was talking about. You didn’t know, that since I was removed from the position, I traveled around all the provinces, and also met some unusual boys, so when you just talked about Precious Jade, I guessed that he was such a boy, too.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:52, 5 December 2021 (UTC)&lt;br /&gt;
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Zixing said, &amp;quot;according to you, if you become a duke, if you lose, you will become a thief.&amp;quot; Yucun said, &amp;quot;that's exactly what you mean. You don't know that I have traveled all over the provinces in the past two years since I was dismissed. I have met two different children, so I guessed that 89 is also a figure of this school.&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”&lt;br /&gt;
Needless to say, it's only Zhen Jia, President of Jinling Provincial Institute of physical benevolence, who is an imperial envoy in Jinling City. Do you know? &amp;quot; Zixing, &amp;quot;no one knows that Zhen's house is the old relative of Jia's house. Their two families are very friendly. Even I have been with him for a long time.&amp;quot;&lt;br /&gt;
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Do you know zhen Jia, president of Qinchai Tiren Academy of Jinling Province in Jinling City?&amp;quot; Zi Xing said, &amp;quot;Who knows? Zhen Fu is jia fu's old man, and the two families are very close to each other. Even I have been with them a long time.&amp;quot;--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 11:00, 12 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。&lt;br /&gt;
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Rain village Merchant smiled and said:”When I was in Nanjing last year, someone recommended me to teach in the House of Merchant. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the scientific examination.”--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:45, 8 December 2021 (UTC)&lt;br /&gt;
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Yu Cun smiled and said:”When I was in Jinling last year, someone recommended me to teach at Zhen Mansion. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the imperial examination.”--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:15, 12 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。&lt;br /&gt;
Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:18, 29 December 2021 (UTC)&lt;br /&gt;
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Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:56, 13 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:55, 13 December 2021 (UTC)&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 03:15, 13 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。&lt;br /&gt;
After class, he saw those daughters, who were gentle, tranquil and clever looking different. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.&lt;br /&gt;
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After class, he went in and met those daughters changed, who were gentle, peaceful, intelligent and elegant. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 14:07, 12 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Why not let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, ‘In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them'.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:45, 5 December 2021 (UTC)&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Do you want to let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, &amp;quot;In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them&amp;quot;.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:34, 6 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”&lt;br /&gt;
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So he got the secret method, and every time he felt the pain, he called his sisters. &amp;quot; Do you also feel ridiculous? And his grandmother doted on him so deeply that I as his teacher was usually insulted and blamed. So I resigned from there. The children like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends. But it's a pity becasue several sisters in his family are rarely good. &amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:52, 6 December 2021 (UTC)&lt;br /&gt;
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And his grandmother doted on him so deeply that I was usually insulted and blamed as his teacher. Such child like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:54, 12 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：&lt;br /&gt;
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Zixing said, &amp;quot;The three girls in Jia's mansion are not bad either. Master Merchant's eldest daughter was named First Spring Merchant. Because of her virtue and filial piety, she was chosen to be a female historian in the court. The second lady was born to Pardon Merchant'concubine, her name was Spring Pleasure Merchant; The third lady was born to Master Merchant's concubine and was named Seeking-Spring Merchant. The fourth lady is the sister of Treasure Merchant in Ning' mansion, named Cherishing Spring Merchant:&lt;br /&gt;
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“ The three girls in the Jia fumily aren ’ t bad either ,” rejoined Zixing .“ Master Merchant ’s elder daughter First Spring Merchant was chosen to be a Lady － Clerk in the palace of the heir apparent because of her goodness , filial piety and talents . The second , Spring Pleasure Merchant, is Pardon Merchant’s daughter by a concubine . The third Seeking-Spring Merchant , is Master Merchant ’ s daughter a concubine . The fourth , Cherishing Spring Merchant , is the younger sister of Treasure Merchant of the Ning Mansion .--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:43, 12 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。&lt;br /&gt;
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As dowager lady Shi is so fondly attached to her granddaughters , they come , for the most part , over to their grandmother ’s place to prosecute their studies together , and each one of these girls is , I hear , without a fault . Yucun said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:37, 12 December 2021 (UTC)&lt;br /&gt;
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“As dowager lady Shi is so attached to these grand-daughters that she makes them study in the Rong Mansion near her, and I hear good reports of them all.” Yucun said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 16:12, 12 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。&lt;br /&gt;
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But how is it that the Jia family have likewise fallen into this convention？&amp;quot;&lt;br /&gt;
&amp;quot;Not so！&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month，that she was called First Spring Merchant；And the rest followed Spring in their names. But the names of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Djia Min. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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But how could that the Jia family have also become so vulgar in terms of the name of the daughters？&amp;quot;&lt;br /&gt;
&amp;quot;It’s not what you think&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month in the lunar year, that she was called First Spring Merchant；And then the rest had Spring in their names too. But all the names of the girls of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Djia Min.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:49, 11 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。&lt;br /&gt;
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If you don’t believe me, check up carefully when you go back. Yucun pounded the table with a laugh. That’s right. The name of my girl student is Daiyu. She always pronounces min as mi and misses one or two strokes when writing. That puzzled me every time. Now  I finally understand the reason behind it after hearing your words. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 11 December 2021 (UTC)&lt;br /&gt;
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If you don’t believe me, inquire carefully when you go back. Rainvillage pounded the table and smiled :”That's right. The name of my girl student is Mascara Jade. She always pronounces ‘Min’ as ‘Mi’ and misses one or two strokes when writing. That puzzled me every time. Now I finally understand the reason behind it after hearing your words. “--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:39, 12 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；&lt;br /&gt;
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It's strange that my female student's speech and behavior are different. She is not the same as other ordinary ladies. Hence,I guess that her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not strange that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:30, 11 December 2021 (UTC)&lt;br /&gt;
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No wonder that my female student's speech and behavior are unique and she is not the same as other ordinary ladies. That's because her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not suprising that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 10:43, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”&lt;br /&gt;
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There are no elder sisters. Then we just look forward to the younger generation's son-in-laws. Jia Yucun says: That's it. I have just heard that Jia Zheng has a son, Prescious Jade Merchant who is born with a jade. And he has a grandson who is his eldest son's child. Doesn't Jia She have any children?--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:09, 6 December 2021 (UTC)&lt;br /&gt;
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“No one's left in the elder sisters, Let's just see what will happen to the younger generation's sons-in-law.” “Exactly.”Jia Yucun says:“I've just heard that Master Zheng's got a another son, and his eldest son had given him a grandson. What's the matter with Master Xie? He hasn't had one yet!”--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:40, 13 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。&lt;br /&gt;
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Zi Xing says:“After Master Zheng had Yu er, his concubine gave birth to another child, don't know whether it is good or bad. Right now they already have two children and a grandson, but not knowing what should do in the future. Master Xie also has a son named Jia Lian, who is about 20 years old now. Jia Lian married Master Zheng's wife Wang's niece, it was an intermarry between their families, and it's been five years now.”&lt;br /&gt;
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Zi Xing said:&amp;quot; Master Merchant's concubine had given birth to another kid for him after having the son named Precious Jade, and didn't know the kid good or bad. So he only had two sons and a grandson at that time and didn't know the future held. Pardon Merchant also had a son named Romance Merchant, who was about 20 years old. Romance Merchant married Master Merchant's wife Lady King's niece, it was an intermarry between their families, and it's been five years now.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:35, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”&lt;br /&gt;
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Romance Merchant had now paid for an official, but he was also uncomfortable with formal affairs; he was so clever and well-spoken in his career that he was currently living in the house of Master Merchant, Romance Merchant's uncle, and helping with the household chores. There is no idea that since marrying this difficult girl, no one in the house would not praise his wife, and that Romance Merchant would not be able to match her: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:11, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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Romance Merchant had now bought a title as an official, but he was also uncomfortable with formal affairs. He was so clever and well-spoken in his career that he was currently living in the house of Maister Merchant, Romance Merchant's uncle, and helping with the household chores.  After he married his wife, everyone praised her, and that made Romance Merchant less popular: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 10:49, 12 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”&lt;br /&gt;
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After hearing this, Yucun smiled and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have the temperament of justice and evil.” Zixing said: “whether these people are just or evil, don't just talk about other people's gossip, and also remember to drink more.” --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:36, 6 December 2021 (UTC)&lt;br /&gt;
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After hearing this, Yucun laughed and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have both good and evil temperament.” Zixing said: “It doesn't matter whether these people are good or evil, you should also take a drink rather than only talking about other people's gossip.”--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:12, 12 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”&lt;br /&gt;
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Yucun said: &amp;quot;I have to drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Zixing said while laughing: &amp;quot; Help yourself! Gossip goes well with alcohol&amp;quot;. Yucun looked out the window and said:&amp;quot; It's getting dark. We'd better continue our talk after entering the city in case the gate is shut.&amp;quot; --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 12 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said: &amp;quot;I accidentally drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Zixing said while laughing: &amp;quot; Enjoy yourself! Gossip goes well with alcohol&amp;quot;. Yucun looked out the window and said:&amp;quot; It has been dark. We'd better continue our talk after entering the city in case the gate shuts.&amp;quot;--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:39, 12 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Rainvillage Merchant. Someone brings a lucky message to you.&amp;quot; Rainvillage Merchant looks back at once... Who is it? Please expect the next chapter--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:03, 5 December 2021 (UTC).&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Yucun. Someone brings a lucky message to you.&amp;quot; Yucun looked back at once... Who was it? Please expect the next chapter.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:19, 12 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。​同寅皆侧目而视──同寅：即同僚。&lt;br /&gt;
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&amp;quot;Wai Ban&amp;quot;(Foreign class) -- After passing the highest imperial examinations in Qing Dynasty, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, while those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officers who were distributed to the local needed wait for the appointment, according to the official appointment system established in Qing Dynasty.so it was called &amp;quot;outside the shift&amp;quot;. Yin(colleagues)all sidelong glance ── with Yin: namely colleague.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:17, 12 December 2021 (UTC)&lt;br /&gt;
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Foreign class -- After the qing dynasty imperial examinations, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, and those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officer distribution to the local to wait for the officer, according to the shift, so called &amp;quot;outside the shift&amp;quot;. With Yin all sidelong eyes and look ── with Yin: namely colleague.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:56, 12 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。 侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。&lt;br /&gt;
Code out of &amp;quot;Shang Shu · Yu Shu · Gao Tao Mo&amp;quot; : &amp;quot;100 liao division division, 100 work but time...... Cooperate with Yin and be respectful and sincere.&amp;quot; Yin shi is the court when the court, so called. Sidelong: to look sideways. Su Qin will say that the king of Chu is passing by Luoyang.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:12, 5 December 2021 (UTC)&lt;br /&gt;
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The code is out of ''Shang Shu · Yu Shu · Gao Tao Mo'' : Numerous bureaucrats and teachers work only a hundred hours...... Cooperate with Yin and be respectful and sincere.&amp;quot; The Yin time is the court when raised, so it's called. Sidelook: to look sideways. From ''Warring States policy · Qin policy I'':&amp;quot; Su Qin will say that the king of Chu is passing by Luoyang.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:57, 6 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。​&lt;br /&gt;
When his parents heard of it, they cleared the palace and cleaned the road. Zhang Le set up a repast and welcomed thirty miles away far from home. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:53, 6 December 2021 (UTC)&lt;br /&gt;
When his parents heard of this, they cleared the palace and Zhang Le set up music and drinks to welcome him to the countryside for thirty miles. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:30, 10 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。&lt;br /&gt;
Wei Yang - an alternative name for Yangzhou (Jiangsu province). It was one of the &amp;quot;nine states&amp;quot; delineated by the Great Yu. The name is derived from ''Shang Shu - Xia Shu - Yu Gong'': &amp;quot;The Huaihai Sea is only Yangzhou.&amp;quot; The word &amp;quot;but&amp;quot; is synonymous with &amp;quot;wei&amp;quot;.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:27, 10 December 2021 (UTC)&lt;br /&gt;
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Dimension Poplar - another name of Yangzhou (in today's Jiangsu Province) which is one of the &amp;quot;Kyushu&amp;quot; divided by Dayu. From the book Shangshu· Xiashu · Yugong  &amp;quot;the Huaihai sea Wei Yangzhou” &amp;quot;Wei&amp;quot; is &amp;quot;wei”--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:08, 9 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”​探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Fu on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Huaihai sea is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan）--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 09:04, 4 December 2021 (UTC)&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Poetic essay on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Weiyang city is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:15, 5 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:06, 5 December 2021 (UTC)&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao who lived in Tang Dynasty once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:09, 8 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”​&lt;br /&gt;
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Wei Tai in Song Dynasty wrote that in his Dongxuan Bilu (Volume Six): “ In the imperial examination, after winning the imperial examination…… Two young scholars at the celebration were elected as Tanhua. And people named them Tanhua  boy .”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:19, 5 December 2021 (UTC)&lt;br /&gt;
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Wei Tai wrote in his ''Dongxuan Transcript'' (Volume Six) in Song Dynasty : “Participated in and passed the highest imperial examinations ... then the first two youngest scholars at the examination were chosen as Tanhua. And people named them Tanhua boy.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:55, 6 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。​&lt;br /&gt;
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Censor of LanTai  - refers to imperial historian who is in charge of impeachment. LanTai  was the  place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. The institution where the imperial historian was later called “LanTai”,  the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:41, 6 December 2021 (UTC)&lt;br /&gt;
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Censor of LanTai - refers to imperial historian who is in charge of impeachment. LanTai was the place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. Accordimgly, the institution where the imperial historian was later called “LanTai” the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。&lt;br /&gt;
Marquis - Ancient Baron name. In Qin Dynasty, it was called &amp;quot;chehou&amp;quot;, which was the highest among twenty-four levels. In the Han Dynasty, in order to avoid the taboo of Liu Che, Emperor of the Han Dynasty, it was changed to &amp;quot;tonghou&amp;quot;. &amp;quot;Tong&amp;quot; is synonymous with &amp;quot;Che&amp;quot; in Chinese, in this way changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the recipient has done meritorious services to the royal family.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 09:17, 4 December 2021 (UTC)&lt;br /&gt;
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Marquis──Ancient noble name. In Qin Dynasty, it was called &amp;quot;Che Hou&amp;quot;, and it was the highest rank among the twenty-four ranks. In the Han Dynasty, it was changed to &amp;quot;Tonghou&amp;quot; to avoid the taboo of Han Wudi Liu Che. &amp;quot;Tong&amp;quot; and &amp;quot;Che&amp;quot; are synonymous, which means changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the meritorious deeds of the nobility are passed to the royal family.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:25, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;The Book of Han·Gao Di Jixia&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquis. In the Qing Dynasty, the titles were divided into Gong, Marquis, Bo, Zi, and Male, and Marquis was the second class.&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;Book of Han• Han Gaozu ( the first emperor of Han dynasty)&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquess. In the Qing Dynasty, the titles were divided into Duck,Marquess, Earl, Viscount, Baron and Marquess was the second class.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 16:03, 11 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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膝下荒凉──意谓子女稀少，尤无儿子。 膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。”&lt;br /&gt;
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Desolate at the knees means that there are few children, especially no sons. Under the Knee: it means children. The reason why children are called knee is that children often nestle to their parents' knees.''The Classic of Filial Piety·Shengzhi'' says &amp;quot;the feeling of affection grows up at parents’ knees. As children grow up, they become more and more respectful of their parents.&amp;quot; Emperor Xuanzong of Tang Dynasty noted: &amp;quot;Be close to your parents and love them. Under the knees is the time of a child.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:48, 8 December 2021 (UTC)&lt;br /&gt;
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Desolate below the knee means that there are few children, especially no sons. Knee: it refers to children. The reason why children are called knee is that children mostly lean on their parents' knees. &amp;quot;The Book of Filial Piety·Shengzhi&amp;quot;: &amp;quot;Therefore, the days of adoptive parents are strict under the knees of one's own birth.&amp;quot; Tang Xuanzong's note: &amp;quot;You are still in love with you, and under your knees is the time of a child.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:29, 6 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。&lt;br /&gt;
Desolate: It can be used to describe such a situation: a family becomes desolate because of the small number of children. West Seat ─ ─  the right seat was preferred by the ancients, therefore the right seat belonged to the guests and tutors. Besides, because they sit in the derection of west and face the direcyion of east, so the guests and tutors were called &amp;quot;west seats&amp;quot; or &amp;quot;west guests&amp;quot;.&lt;br /&gt;
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Desolation: it describes the desolation of the family due to the scarcity of children. West Seat -- the ancients took the right (West) seat as the priority, so the right seat was the seat for guests and school teachers.and because they sit in the derection of west and face the direcyion of east.Therefore, it was called &amp;quot;west seats&amp;quot; or &amp;quot;West guests&amp;quot; for the guests and tutors.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:19, 7 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。&lt;br /&gt;
Liang Zhangju, Qing Dynasty, wrote in Volume VIII of 《Appellation records》: &amp;quot;Emperor  Mingdi After respected Huan Rong and treated him with teacher courtesy. He once visited Taichang mansion in person, asked Huan Rong to sit in the East, set a table and a walking stick。Therefore, master said it was a seat in the West.&amp;quot; Here refers to a tutor.A couplet of &amp;quot;behind you&amp;quot; - there is surplus behind you: it means that the remaining years are still very long (&amp;quot;behind you&amp;quot; cannot be interpreted as after death).--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 14:23, 4 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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忘缩手：是说不肯收手，还要争名夺利。 &lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。​&lt;br /&gt;
No way: desperate. This association means that most people in the world only care about the present, regardless of the future, and wait until they are desperate and regret it. ​&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。&lt;br /&gt;
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Sha-Sanskrit transliteration provincial name, free translation is the columnar spire of the stupa, so it is also called &amp;quot;Buddha column&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。&lt;br /&gt;
Extended to Buddhist temple. HiJia Fu——A native of Nanyang Champion of the Eastern Han Dynasty (now northwest of Dengzhou City, Henan Province),he was tired from general to the left and sealed Donghou in Jiao.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。​There is a biography in the Book of the Later Han Dynasty. There are thousands of people surnamed Jia, but Jia Yucun only manages Jia Fu from a thousand years ago. This shows that the Qiraji banner is a tiger skin.​&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:18, 6 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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百足之虫，死而不僵——典出三国魏·曹冏《六代论》：&lt;br /&gt;
A hundred-footed worm does not die - an allusion to Cao Jon's &amp;quot;Six Dynasties&amp;quot; in the Three Kingdoms.&lt;br /&gt;
Note:百足之虫，至死不僵，读作 bǎi zú zhī chóng，zhì sǐ bù jiāng 。 It is used as a metaphor for a group or individual with strong power that will not easily collapse for a while. 百足：The name of a worm with a twenty-sectioned torso that can still wriggle after being severed.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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“故语曰：‘百足之虫，死而不僵。’扶之者众也。”&lt;br /&gt;
The old saying goes:'Hundred-legged worms die but are not stiff.' There are many who support them.&amp;quot;&lt;br /&gt;
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[[File:Example.jpg]]==Zohaib Chand 202121080005==&lt;br /&gt;
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比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。&lt;br /&gt;
It is a metaphor that despite the decline of the aristocratic family, because of the strong family background and numerous support, it can still maintain its prosperity on the surface.&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。&lt;br /&gt;
English: Centipede, Insect name, arthropods. Length, around an inch, Body is composed of multiple sections, each section has one or two pairs of feet, after cutting still can squirm.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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僵：倒下。​安富尊荣──语出《孟子·尽心上》：&lt;br /&gt;
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Stiff: fall down. ​Safety, wealth and honour──From the words &amp;quot;Mencius·All Your Heart&amp;quot;:&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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“君子居是国也，其君用之，则安富尊荣。”&lt;br /&gt;
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A gentleman can make people transform their morals, change their customs, Safeguard the country and protect its honor. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:55, 5 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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原意是君子因辅佐国君功勋卓著而享受荣华富贵。&lt;br /&gt;
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Agree to be a gentleman，because of the outstanding merits of supporting the monarch and enjoying the glory and wealth.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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The original meaning was that gentlemen who made outstanding contributions to assist the monarch enjoyed glory and wealth. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:06, 5 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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这里反用其意，意谓不劳而获，安享荣华富贵。​&lt;br /&gt;
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The meaning is the opposite here, that for nothing one can enjoy prosperity and wealth.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:02, 5 December 2021 (UTC)&lt;br /&gt;
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The meaning is reversed here, which means to enjoy prosperity and wealth for nothing. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:22, 7 December 2021 (UTC) ​&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”&lt;br /&gt;
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Zhongming Ding Shi-Quoting Tang Wang Bo's &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan, the home of Zhong Ming Ding Shi.&amp;quot; --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:24, 7 December 2021 (UTC)&lt;br /&gt;
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Zhongming Ding Shi-Speech by Tang Wang Bo &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan rushes to the ground, the home of Zhongming Ding Shi.&amp;quot; -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。&lt;br /&gt;
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The nobles in ancient times sang bells and set out to eat. Here it is used to describe the wealth and luxury.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)Ei Mon Kyaw--------Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)&lt;br /&gt;
The ancient nobles rang the bells and set out to eat. To describe wealth and luxury. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 07:09, 8 December 2021 (UTC)&lt;br /&gt;
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The ancient nobility enjoy their meal with tripod as cookware and the bell set as background music, which indicates occupying high positions and great wealth.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 14:33, 12 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134471</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134471"/>
		<updated>2021-12-29T04:56:53Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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Baoyu went to Daiyu and sat down. He looked at her carefully, because he asked, &amp;quot;has you ever went to school?&amp;quot; Daiyu said, &amp;quot;I didn't go to school. I only studied for a year, so I can recognize a few words.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;Watch characters?&amp;quot; &amp;quot;No words,&amp;quot; Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;What's your courtesy name?&amp;quot; &amp;quot;I don't have a courtesy name&amp;quot; Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Baoyu laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Daiyu, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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Precious Jade laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Mascara Jade Forest, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. &amp;quot;Dai Yu said: &amp;quot;Sisters said, I just remember. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
After narrating for a while, he rested. Woke up the next morning, saved Jia's mother, because he came to Mrs. Wang. Just as Mrs. Wang and Xifeng were at the same place to tear down the letter from Jinling, and two daughters-in-law sent by Mrs. Wang's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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Here these refer to the people or the things needing caring.&lt;br /&gt;
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Tanchun'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing&amp;quot;, &amp;quot;The New Language of the World&amp;quot; (世說新語容止):&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
Weiming Siuyuy Full, Full Day, with hot soup.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
Both, but sweat, to Zhu Jiazi, the color turned. &amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134470</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134470"/>
		<updated>2021-12-29T04:54:55Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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Baoyu went to Daiyu and sat down. He looked at her carefully, because he asked, &amp;quot;has you ever went to school?&amp;quot; Daiyu said, &amp;quot;I didn't go to school. I only studied for a year, so I can recognize a few words.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:13, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;Watch characters?&amp;quot; &amp;quot;No words,&amp;quot; Said Daiyu.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:10, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Baoyuu asked, &amp;quot;What is your name?&amp;quot; Daiyu told her name to him. Baoyu said, &amp;quot;What's your courtesy name?&amp;quot; &amp;quot;I don't have a courtesy name&amp;quot; Said Daiyu.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:21, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Baoyu laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Daiyu, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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Precious Jade laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Daiyu, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:54, 29 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
If you are so sad for him, I'm afraid you still can't be sad. Don't worry about it. &amp;quot;Dai Yu said: &amp;quot;Sisters said, I just remember. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:30, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
After narrating for a while, he rested. Woke up the next morning, saved Jia's mother, because he came to Mrs. Wang. Just as Mrs. Wang and Xifeng were at the same place to tear down the letter from Jinling, and two daughters-in-law sent by Mrs. Wang's brother-in-law to talk.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:28, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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Gao Che：also named as Di Li, Cile, Tie Le, Ding Zero. It’s the name of the northern Chinese minorities in the ancient time，which means worring about the national or family affairs.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 11:35, 27 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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Here these refer to the people or the things needing caring.&lt;br /&gt;
Chui Hua door——in ancient time it refers to the decent second gate of a courtyard house.The top of the gate is like the roof，with its four corners、front and back flopping flowers，thus is called Chui Hua door&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Tanchun'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:27, 27 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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The clamshel is good at writing, nowadays the two sides of the monument dragon is its portrait; Chi Zhewen is good at swallowing, nowadays the temple ridge beast head is its portrait.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 06:53, 27 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:47, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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The treasure of the Emperor's seal and ink imprint──This refers to the inscription on the emperor's seal. Wanji: Country's complicated executive affairs. It was what's recorded in ''Gao Tao Mo, Book Yu, The Book of History'', which is &amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 14:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:44, 26 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 12:43, 26 December 2021 (UTC)&lt;br /&gt;
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Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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Beauty porcelain（mei ren gu）-- A wine container from the famous Ruyao. Ru kiln: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:34, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were in diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like horseshoe, so it is also called horseshoe sleeve.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 14:08, 26 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a sort of clothing style, which can also worn by men who did not shoot arrows. ​The two sentences of &amp;quot;inverted image&amp;quot; seem to have a double meaning: one alluded to Jia Baoyu’s incarnation Shenying waiter watering Lin Daiyu’s incarnation—— the celestial grass with nectar in the Tai Xu fantasy.&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
Face like Fu Powder- Yu Ben Southern Dynasty Song Liu Yiqing&amp;quot;, &amp;quot;The New Language of the World&amp;quot; (世說新語容止):&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 13:33, 28 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
&amp;quot;Uncle He Ping's face is white and beautiful.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
Weiming Siuyuy Full, Full Day, with hot soup.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
Both, but sweat, to Zhu Jiazi, the color turned. &amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134218</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134218"/>
		<updated>2021-12-22T13:45:44Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while dictating.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Xijiang Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=133955</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=133955"/>
		<updated>2021-12-19T12:13:34Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received  his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Rongxi hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Jia Yuan, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Tai-yue replied. &amp;quot;What books are my cousins reading?&amp;quot; Tai-yue went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed dowager lady Chia; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
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He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=133853</id>
		<title>Cult Load Words EN 9</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=133853"/>
		<updated>2021-12-16T04:23:44Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Conclusion */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
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付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So in order to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward one kind definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida's functional equivalence theory focuses on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory opens a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics,tyle, and the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new conception that translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor's language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor tothe  modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book ''Language, Culture and Translating'', he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can well embody the cultural knowledge that a language carries and reflects the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, but English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, posing many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and usages could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, excepting for cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the referential concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers better understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
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例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical developments and political evolutions, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
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Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds the view that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
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3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
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又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
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====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
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Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important role in national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
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For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
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例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
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Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing idioms or proverbs. &lt;br /&gt;
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For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
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In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture, but an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
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3.4语言文化类&lt;br /&gt;
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语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
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例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
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另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communication but also to spread national culture reserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
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本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
&lt;br /&gt;
Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=133852</id>
		<title>Cult Load Words EN 9</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=133852"/>
		<updated>2021-12-16T04:20:02Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 3.4 Culture-loaded Words Related to Linguistic Culture */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
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付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
&lt;br /&gt;
In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So in order to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward one kind definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida's functional equivalence theory focuses on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory opens a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics,tyle, and the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new conception that translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor's language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor tothe  modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book ''Language, Culture and Translating'', he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can well embody the cultural knowledge that a language carries and reflects the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, but English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, posing many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and usages could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, excepting for cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the referential concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers better understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
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例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical developments and political evolutions, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
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Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds the view that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
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3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
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又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
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====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
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Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important role in national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
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For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
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例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
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Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing idioms or proverbs. &lt;br /&gt;
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For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
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In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture, but an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
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3.4语言文化类&lt;br /&gt;
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语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
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例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
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另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
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本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
&lt;br /&gt;
On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
&lt;br /&gt;
I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=133851</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=133851"/>
		<updated>2021-12-16T04:15:11Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Abstract */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze the translation of culture-loaded words in ''The Concubine Market of Yangchow'' in Lin Yutang's English version based on Newmark’s translation theory. Surrounding this theme, much background information was initially discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Then, translation of culture–loaded words in ''The Concubine Market of Yangchow'' are discussed from the perspective of semantic translation and communicative translation put forward by Newmark. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, made certain contributions to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
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===摘要===&lt;br /&gt;
本论文的主题是基于纽马克的翻译理论去探析林语堂英译本《扬州瘦马》中的文化负载词的翻译。围绕此主题，预先讨论了大量背景知识，如张岱以及《扬州瘦马》的介绍，文化负载词的定义以及奈达对文化负载词的分类，纽马克的翻译理论等等。此后，从纽马克提出的语内翻译和交际翻译的角度去剖析《扬州瘦马》中的文化负载词翻译。林语堂的《扬州瘦马》的英译本——一篇写于明朝的散文，对中国文化传播走向世界做出了一定的贡献。对于此疑问——如何翻译文化负载词、更好地传播中国文化——在此论文中得到解答。&lt;br /&gt;
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===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
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===关键词===&lt;br /&gt;
纽马克翻译理论；文化负载词；《扬州瘦马》；林语堂&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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“Concubine market” refers to a place where people bought beautiful girls from poor families, taught them skills of women and courtesy, cultivated them how to be good wives, and sold them to the rich as concubines. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient times.    --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:02, 14 December 2021 (UTC)&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
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“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
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Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
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(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
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A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
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One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
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“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
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Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
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(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
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Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
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“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
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Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
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Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
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The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
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“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
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===References===&lt;br /&gt;
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Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
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Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
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Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
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Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
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Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
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Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
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Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
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Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
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Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
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Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
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Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
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Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:51, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* Abstract */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze the translation of culture-loaded words in ''The Concubine Market of Yangchow'' in Lin Yutang's English version based on Newmark’s translation theory. Surrounding this theme, much background information was initially discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Then, translation of culture–loaded words in The Concubine Market of Yangchow are discussed from the perspective of semantic translation and communicative translation put forward by Newmark. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, made certain contributions to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
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===摘要===&lt;br /&gt;
本论文的主题是基于纽马克的翻译理论去探析林语堂英译本《扬州瘦马》中的文化负载词的翻译。围绕此主题，预先讨论了大量背景知识，如张岱以及《扬州瘦马》的介绍，文化负载词的定义以及奈达对文化负载词的分类，纽马克的翻译理论等等。此后，从纽马克提出的语内翻译和交际翻译的角度去剖析《扬州瘦马》中的文化负载词翻译。林语堂的《扬州瘦马》的英译本——一篇写于明朝的散文，对中国文化传播走向世界做出了一定的贡献。对于此疑问——如何翻译文化负载词、更好地传播中国文化——在此论文中得到解答。&lt;br /&gt;
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===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
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===关键词===&lt;br /&gt;
纽马克翻译理论；文化负载词；《扬州瘦马》；林语堂&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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“Concubine market” refers to a place where people bought beautiful girls from poor families, taught them skills of women and courtesy, cultivated them how to be good wives, and sold them to the rich as concubines. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient times.    --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:02, 14 December 2021 (UTC)&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
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“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
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He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
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Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
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(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
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A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
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One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
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“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
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Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
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(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
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Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
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“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
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(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
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Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
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Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
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The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
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“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
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Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
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Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
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Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
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Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
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Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
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Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
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Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:51, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* 摘要 */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze the translation of culture-loaded words in ''The Concubine Market of Yangchow'' in Lin Yutang's English version based on Newmark’s translation theory. Surrounding this theme, much background information was initially discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Then, translation of culture–loaded words are discussed from the perspective of semantic translation and communicative translation put forward by Newmark. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, made certain contributions to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
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===摘要===&lt;br /&gt;
本论文的主题是基于纽马克的翻译理论去探析林语堂英译本《扬州瘦马》中的文化负载词的翻译。围绕此主题，预先讨论了大量背景知识，如张岱以及《扬州瘦马》的介绍，文化负载词的定义以及奈达对文化负载词的分类，纽马克的翻译理论等等。此后，从纽马克提出的语内翻译和交际翻译的角度去剖析《扬州瘦马》中的文化负载词翻译。林语堂的《扬州瘦马》的英译本——一篇写于明朝的散文，对中国文化传播走向世界做出了一定的贡献。对于此疑问——如何翻译文化负载词、更好地传播中国文化——在此论文中得到解答。&lt;br /&gt;
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===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
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===关键词===&lt;br /&gt;
纽马克翻译理论；文化负载词；《扬州瘦马》；林语堂&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
“Concubine market” refers to a place where people bought beautiful girls from poor families, taught them skills of women and courtesy, cultivated them how to be good wives, and sold them to the rich as concubines. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient times.    --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:02, 14 December 2021 (UTC)&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
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Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
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Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
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Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
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Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:51, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* Abstract */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze the translation of culture-loaded words in ''The Concubine Market of Yangchow'' in Lin Yutang's English version based on Newmark’s translation theory. Surrounding this theme, much background information was initially discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Then, translation of culture–loaded words are discussed from the perspective of semantic translation and communicative translation put forward by Newmark. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, made certain contributions to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
本论文的主题是基于纽马克的翻译理论去探析林语堂英译本《扬州瘦马》中的文化负载词的翻译。围绕此主题，预先讨论了大量背景知识，如张岱以及《扬州瘦马》的介绍，文化负载词的定义以及奈达对文化负载词的分类，纽马克的翻译理论等等。林语堂的《扬州瘦马》的英译本——一篇写于明朝的散文，对中国文化传播走向世界做出了一定的贡献。对于此疑问——如何翻译文化负载词、更好地传播中国文化——在此论文中得到解答。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
纽马克翻译理论；文化负载词；《扬州瘦马》；林语堂&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
“Concubine market” refers to a place where people bought beautiful girls from poor families, taught them skills of women and courtesy, cultivated them how to be good wives, and sold them to the rich as concubines. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient times.    --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:02, 14 December 2021 (UTC)&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
&lt;br /&gt;
(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
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Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
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Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:51, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<updated>2021-12-16T03:20:44Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Abstract */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze the translation of culture-loaded words in ''The Concubine Market of Yangchow'' in Lin Yutang's English version based on Newmark’s translation theory. Surrounding this theme, much background information was initially discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, made certain contributions to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
本论文的主题是基于纽马克的翻译理论去探析林语堂英译本《扬州瘦马》中的文化负载词的翻译。围绕此主题，预先讨论了大量背景知识，如张岱以及《扬州瘦马》的介绍，文化负载词的定义以及奈达对文化负载词的分类，纽马克的翻译理论等等。林语堂的《扬州瘦马》的英译本——一篇写于明朝的散文，对中国文化传播走向世界做出了一定的贡献。对于此疑问——如何翻译文化负载词、更好地传播中国文化——在此论文中得到解答。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
纽马克翻译理论；文化负载词；《扬州瘦马》；林语堂&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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“Concubine market” refers to a place where people bought beautiful girls from poor families, taught them skills of women and courtesy, cultivated them how to be good wives, and sold them to the rich as concubines. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient times.    --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:02, 14 December 2021 (UTC)&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
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“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
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He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
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Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
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(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
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A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
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One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
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“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
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Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
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(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
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Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
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“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
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(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
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Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
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Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:51, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* Chapter 10 : Translation of Culture-Loaded Words in The Concubine Market of Yangchow  of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze the translation of culture-loaded words in The Concubine Market of Yangchow in Lin Yutang's English version based on Newmark’s translation theory. Surrounding this theme, much background information was initially discussed, such as the introduction of Zhang Dai and The Concubine Market of Yangchow, the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to The Concubine Market of Yangchow-- an essay written in Ming dynasty, made certain contributions to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
本论文的主题是基于纽马克的翻译理论去探析林语堂英译本《扬州瘦马》中的文化负载词的翻译。围绕此主题，预先讨论了大量背景知识，如张岱以及《扬州瘦马》的介绍，文化负载词的定义以及奈达对文化负载词的分类，纽马克的翻译理论等等。林语堂的《扬州瘦马》的英译本——一篇写于明朝的散文，对中国文化传播走向世界做出了一定的贡献。对于此疑问——如何翻译文化负载词、更好地传播中国文化——在此论文中得到解答。&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
纽马克翻译理论；文化负载词；《扬州瘦马》；林语堂&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
“Concubine market” refers to a place where people bought beautiful girls from poor families, taught them skills of women and courtesy, cultivated them how to be good wives, and sold them to the rich as concubines. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient times.    --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:02, 14 December 2021 (UTC)&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:51, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* Abstract */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The theme of this paper is to analyze the translation of culture-loaded words in The Concubine Market of Yangchow in Lin Yutang's English version based on Newmark’s translation theory. Surrounding this theme, much background information was initially discussed, such as the introduction of Zhang Dai and The Concubine Market of Yangchow, the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to The Concubine Market of Yangchow-- an essay written in Ming dynasty, made certain contributions to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
“Concubine market” refers to a place where people bought beautiful girls from poor families, taught them skills of women and courtesy, cultivated them how to be good wives, and sold them to the rich as concubines. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient times.    --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:02, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
&lt;br /&gt;
====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
&lt;br /&gt;
(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
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Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
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Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:51, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=133692</id>
		<title>Cult Load Words EN 9</title>
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		<updated>2021-12-16T02:17:07Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 3.3 Culture-loaded Words Related to Religious Culture */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
&lt;br /&gt;
'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
&lt;br /&gt;
付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
&lt;br /&gt;
=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So in order to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward one kind definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida's functional equivalence theory focuses on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory opens a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics,tyle, and the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new conception that translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor's language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor tothe  modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book ''Language, Culture and Translating'', he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can well embody the cultural knowledge that a language carries and reflects the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, but English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, posing many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and usages could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, excepting for cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the referential concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers better understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
&lt;br /&gt;
此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
&lt;br /&gt;
====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
&lt;br /&gt;
Different nations have different historical developments and political evolutions, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
&lt;br /&gt;
Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds the view that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
&lt;br /&gt;
3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
&lt;br /&gt;
又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
&lt;br /&gt;
====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
&lt;br /&gt;
Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important role in national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
&lt;br /&gt;
For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
&lt;br /&gt;
宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
&lt;br /&gt;
Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
&lt;br /&gt;
For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
&lt;br /&gt;
In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
&lt;br /&gt;
3.4语言文化类&lt;br /&gt;
&lt;br /&gt;
语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
&lt;br /&gt;
例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
&lt;br /&gt;
本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
&lt;br /&gt;
On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 9</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* 3.2 Culture-loaded Words Related to Social Culture */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
&lt;br /&gt;
付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So in order to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward one kind definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida's functional equivalence theory focuses on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory opens a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics,tyle, and the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new conception that translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor's language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor tothe  modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book ''Language, Culture and Translating'', he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can well embody the cultural knowledge that a language carries and reflects the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, but English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, posing many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and usages could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, excepting for cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the referential concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers better understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
&lt;br /&gt;
====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical developments and political evolutions, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
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Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds the view that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
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3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
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又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
&lt;br /&gt;
====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
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Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
&lt;br /&gt;
For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
&lt;br /&gt;
Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
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For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
&lt;br /&gt;
In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
&lt;br /&gt;
3.4语言文化类&lt;br /&gt;
&lt;br /&gt;
语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
&lt;br /&gt;
例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
&lt;br /&gt;
本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
&lt;br /&gt;
On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 9</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* 3.1 Culture-loaded Words Related to Material Culture */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
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付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So in order to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward one kind definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida's functional equivalence theory focuses on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory opens a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics,tyle, and the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new conception that translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor's language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor tothe  modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book ''Language, Culture and Translating'', he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can well embody the cultural knowledge that a language carries and reflects the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, but English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, posing many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and usages could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, excepting for cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the referential concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers better understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
&lt;br /&gt;
此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
&lt;br /&gt;
====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
&lt;br /&gt;
Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
&lt;br /&gt;
For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
&lt;br /&gt;
Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
&lt;br /&gt;
3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
&lt;br /&gt;
又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
&lt;br /&gt;
====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
&lt;br /&gt;
Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
&lt;br /&gt;
For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
&lt;br /&gt;
宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
&lt;br /&gt;
====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
&lt;br /&gt;
Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
&lt;br /&gt;
For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
&lt;br /&gt;
In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
&lt;br /&gt;
3.4语言文化类&lt;br /&gt;
&lt;br /&gt;
语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
&lt;br /&gt;
例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
&lt;br /&gt;
本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
&lt;br /&gt;
On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
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		<title>Cult Load Words EN 9</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* 2. The Definition and Classification of Culture-loaded Words */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
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付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So in order to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward one kind definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida's functional equivalence theory focuses on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory opens a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics,tyle, and the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new conception that translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor's language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor tothe  modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book ''Language, Culture and Translating'', he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can well embody the cultural knowledge that a language carries and reflects the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, but English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, posing many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
&lt;br /&gt;
此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
&lt;br /&gt;
====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
&lt;br /&gt;
For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
&lt;br /&gt;
Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
&lt;br /&gt;
3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
&lt;br /&gt;
又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
&lt;br /&gt;
====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
&lt;br /&gt;
Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
&lt;br /&gt;
For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
&lt;br /&gt;
宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
&lt;br /&gt;
====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
&lt;br /&gt;
Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
&lt;br /&gt;
For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
&lt;br /&gt;
In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
&lt;br /&gt;
3.4语言文化类&lt;br /&gt;
&lt;br /&gt;
语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
&lt;br /&gt;
例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
&lt;br /&gt;
本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
&lt;br /&gt;
On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
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		<title>Cult Load Words EN 9</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* 1. The Theory of Translation Equivalence and Specific Translation Skills */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
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付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So in order to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward one kind definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida's functional equivalence theory focuses on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory opens a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics,tyle, and the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new conception that translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor's language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor tothe  modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book ''Language, Culture and Translating'', he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
&lt;br /&gt;
For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
&lt;br /&gt;
Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
&lt;br /&gt;
3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
&lt;br /&gt;
又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
&lt;br /&gt;
====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
&lt;br /&gt;
Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
&lt;br /&gt;
For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
&lt;br /&gt;
Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
&lt;br /&gt;
For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
&lt;br /&gt;
In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
&lt;br /&gt;
3.4语言文化类&lt;br /&gt;
&lt;br /&gt;
语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
&lt;br /&gt;
例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
&lt;br /&gt;
本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
&lt;br /&gt;
On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
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		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=133681</id>
		<title>Cult Load Words EN 9</title>
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		<updated>2021-12-16T01:58:21Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Introduction */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
&lt;br /&gt;
付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So in order to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward the definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory focus on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory open up a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics, and style, the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new concept of translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor to modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book Language, Culture and Translating, he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
&lt;br /&gt;
Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
&lt;br /&gt;
For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
&lt;br /&gt;
Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
&lt;br /&gt;
3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
&lt;br /&gt;
又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
&lt;br /&gt;
====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
&lt;br /&gt;
Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
&lt;br /&gt;
For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
&lt;br /&gt;
Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
&lt;br /&gt;
For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
&lt;br /&gt;
In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
&lt;br /&gt;
3.4语言文化类&lt;br /&gt;
&lt;br /&gt;
语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
&lt;br /&gt;
例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
&lt;br /&gt;
本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
&lt;br /&gt;
On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=133679</id>
		<title>Cult Load Words EN 9</title>
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		<updated>2021-12-16T01:52:46Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Introduction */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
&lt;br /&gt;
付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge for cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So as to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward the definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory focus on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory open up a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics, and style, the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new concept of translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor to modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book Language, Culture and Translating, he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
&lt;br /&gt;
For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
&lt;br /&gt;
Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
&lt;br /&gt;
3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
&lt;br /&gt;
又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
&lt;br /&gt;
====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
&lt;br /&gt;
Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
&lt;br /&gt;
For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
&lt;br /&gt;
例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
&lt;br /&gt;
Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
&lt;br /&gt;
For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
&lt;br /&gt;
In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
&lt;br /&gt;
3.4语言文化类&lt;br /&gt;
&lt;br /&gt;
语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
&lt;br /&gt;
例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
&lt;br /&gt;
本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
&lt;br /&gt;
On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=133678</id>
		<title>Cult Load Words EN 9</title>
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		<updated>2021-12-16T01:51:04Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Abstract */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
&lt;br /&gt;
付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums which affects the acceptability of the target text receivers directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research about how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So as to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward the definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory focus on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory open up a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics, and style, the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new concept of translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor to modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book Language, Culture and Translating, he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
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例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
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Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
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3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
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又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
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====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
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Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
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For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
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例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
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Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
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For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
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In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
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3.4语言文化类&lt;br /&gt;
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语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
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例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
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In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
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本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* 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 */&lt;/p&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do list]]&lt;br /&gt;
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=Chapter 1: The Analysis of Culture-loaded Words of English Subtitle Translation in Chinese Movies-Taking Farewell to My Concubine as an Example =&lt;br /&gt;
[[Cult_Load_Words_EN_1]]&lt;br /&gt;
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羊叶Yang Ye, Hunan Normal University, China&lt;br /&gt;
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=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =&lt;br /&gt;
[[Cult_Load_Words_EN_2]]&lt;br /&gt;
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=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 =&lt;br /&gt;
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功能主义目的论视角下加里斯奈德对寒山诗的英译研究&lt;br /&gt;
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罗曦 Luo Xi, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_3]]&lt;br /&gt;
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=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=&lt;br /&gt;
[[Cult_Load_Words_EN_4]]&lt;br /&gt;
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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 =&lt;br /&gt;
[[Cult_Load_Words_EN_5]]&lt;br /&gt;
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=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=&lt;br /&gt;
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'''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'''&lt;br /&gt;
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杜莉娜 Du Lina, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_6]]&lt;br /&gt;
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=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =&lt;br /&gt;
俄语成语中文化负载词的中文翻译分析&lt;br /&gt;
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宫博雅 Gong Boya, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_7]]&lt;br /&gt;
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=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =&lt;br /&gt;
[[Cult_Load_Words_EN_8]]&lt;br /&gt;
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=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =&lt;br /&gt;
[[Cult_Load_Words_EN_9]]&lt;br /&gt;
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=10 丁旋 On the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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=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=&lt;br /&gt;
[[Cult_Load_Words_EN_11]]&lt;br /&gt;
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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 = &lt;br /&gt;
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殷慧珍 Yin Huizhen, Hunan Normal University, China &lt;br /&gt;
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[[Cult_Load_Words_EN_12]]&lt;br /&gt;
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=13 程杨 Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation =&lt;br /&gt;
[[Cult_Load_Words_EN_13]]&lt;br /&gt;
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《边城》中文化负载词的翻译—以戴乃迭英译本为例&lt;br /&gt;
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程杨 Cheng Yang, Hunan Normal University, China&lt;br /&gt;
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=14 胡舒情 On Translation Strategies of Culture-loaded Words in Traditional Chinese Medical Classics: A Case Study of ''Treatise on Febrile Caused by Cold''=&lt;br /&gt;
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浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》为例&lt;br /&gt;
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胡舒情 Hu Shuqing, Hunan Normal University&lt;br /&gt;
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[[Cult_Load_Words_EN_14]]&lt;br /&gt;
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=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''=&lt;br /&gt;
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目的论视阈下文化负载词的翻译研究——以习近平《治国理政》为例&lt;br /&gt;
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[[Cult_Load_Words_EN_15]]&lt;br /&gt;
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Chen Jing, 陈静, Hunan Normal University, China&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=132959</id>
		<title>Cult Load Words EN 9</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=132959"/>
		<updated>2021-12-14T09:18:05Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
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付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums, affecting the acceptability of the target text receiver directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research that how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So as to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward the definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory focus on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory open up a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics, and style, the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new concept of translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor to modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book Language, Culture and Translating, he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
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例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
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Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
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3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
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又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
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====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
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Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
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For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
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例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
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Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
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For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
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In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
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3.4语言文化类&lt;br /&gt;
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语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
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例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
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另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
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本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] &lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details. Besides, the format of your references are not exactly correct and you can further improve and polish them. &lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=132956</id>
		<title>Cult Load Words EN 9</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=132956"/>
		<updated>2021-12-14T09:09:46Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
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付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums, affecting the acceptability of the target text receiver directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research that how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
&lt;br /&gt;
In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So as to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward the definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory focus on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory open up a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics, and style, the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new concept of translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor to modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book Language, Culture and Translating, he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
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例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
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Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
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3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
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又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
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====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
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Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
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For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
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例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
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Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
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For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
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In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
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3.4语言文化类&lt;br /&gt;
&lt;br /&gt;
语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
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例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
&lt;br /&gt;
In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
&lt;br /&gt;
本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
&lt;br /&gt;
On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture, religious culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
&lt;br /&gt;
I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details.&lt;br /&gt;
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Besides, the format of your references are not exactly correct and you can further improve and polish them.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=132951</id>
		<title>Cult Load Words EN 9</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_9&amp;diff=132951"/>
		<updated>2021-12-14T09:07:40Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;=Chapter 9:On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum=&lt;br /&gt;
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'''文物解说词中的文化负载词的日译研究——以湖南博物馆为例'''&lt;br /&gt;
&lt;br /&gt;
付诗雨 Fu Shiyu, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. The commentaries translation of cultural relics provided by museums, affecting the acceptability of the target text receiver directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research that how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
&lt;br /&gt;
=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. [(Halualani 2011:248-270), (Larson 1984:431) ]&lt;br /&gt;
&lt;br /&gt;
In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So as to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
&lt;br /&gt;
在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally-loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward the definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory focus on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory open up a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics, and style, the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new concept of translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor to modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book Language, Culture and Translating, he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver. [(Nida ,Taber 2004), (Nida 2001:87)]&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence. [(Wang 2002:83), (Newmark 2001:28)]&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金,查尔斯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society. [(Hu 2018:235)]&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang ,Wu 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication. [(Huo 2011:206), (Zhang ,Wu 2021:43)]&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张,吴 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. [(Kojien6 2008)]&lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this. [(Zuo 2011:30), (Sun 2018:81)]&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
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例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
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Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time. [(Kojien6 2008)]&lt;br /&gt;
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3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
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又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
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====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
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Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
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For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. [(Pu 2021:12)]&lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
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例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
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Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
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For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
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In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
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3.4语言文化类&lt;br /&gt;
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语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
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例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
&lt;br /&gt;
另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
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In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
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本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ] commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. [(Zhang 2002:60) ]&lt;br /&gt;
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I think you should research the origin of culture-loaded words more carefully, for example, when it is initially mentioned and so on. So many masters gave definitions to culture-loaded, no matter Chinese or foreign scholars. As to the category of culture-loaded words, I think the two famous and recognized divisions are put forward by Newmark and Nida. I am not quite sure who is Zhang mentioned here and I think you can introduce him in more details.&lt;br /&gt;
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Besides, the format of your references are not exactly correct and you can further improve and polish them.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 09:07, 14 December 2021 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
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Hu Jie 胡洁. (2018). 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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Huo L. R. . (2011). Translation of the culture-loaded words. Overseas English:206.&lt;br /&gt;
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Larson Midred L. (1984). Meaning-Based Translation:A Guide to Cross-Language Equivalence. Lanham: University Press of America:431.&lt;br /&gt;
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Nakayama T. K. &amp;amp; R. T. Halualani. (2011). The Handbook of Critical Intercultural Communication. New Jersey: Wiley-Blackwell:248-270.&lt;br /&gt;
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Newmark Peter.Approaches to Translation (2001).Shanghai:Shanghai Foreign Language Education Press:28.&lt;br /&gt;
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Nida E.A. (2001). Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press:87.&lt;br /&gt;
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Nida E.A. , Taber C.R. (2004). The Theory and Practice of Translation. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Pu Wenqi 濮文起. (2021).中国人地狱观的演变进路[The Evolution of Chinese Concept of Hell].World Religious Culture世界宗教文化(2):12.&lt;br /&gt;
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Shinmura Izuru 新村出. (2008).広辞苑(第6版) [Kojien6].Tokyo:Iwanami Shoten東京:岩波書店.&lt;br /&gt;
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Sun Lingling 孙玲玲. (2018). 汉民族传统服装之“右衽”[The &amp;quot;You Ren&amp;quot; of Han Nationality Traditional Costume].XueYuanJiaoYu学苑教育(8):81.&lt;br /&gt;
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Wang Enke 王恩科. (2002).文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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Zhang Hongyan 张红艳. (2000).试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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Zhang Li 张丽, Wu Linan 吴丽楠. (2021).中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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Zuo Na 左娜. (2011). “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学:30.&lt;br /&gt;
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Written by ——--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:43, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132764</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132764"/>
		<updated>2021-12-14T04:51:39Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* References */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
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丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
&lt;br /&gt;
(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
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Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
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Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
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Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
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Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
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Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
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Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;br /&gt;
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--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 04:51, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* 4.1 Semantic Translation Theory in The Concubine Market of Yangchow */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”.&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
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“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
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He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
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Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
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(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
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A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
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One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
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“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
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Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
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(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
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Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
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“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
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(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
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Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
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Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
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The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
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“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
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===References===&lt;br /&gt;
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Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
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Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
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Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
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Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
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Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132761</id>
		<title>Cult Load Words EN 10</title>
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		<updated>2021-12-14T04:49:36Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 2.2.1 Ecological Culture-Loaded Words */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”. In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.(Mei 2016:137)&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”. (Zhao 2019:36)&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132760</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132760"/>
		<updated>2021-12-14T04:48:22Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 4.2 Communicative Translation Theory in The Concubine Market of Yangchow */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
&lt;br /&gt;
====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”. (Zhao 2019:36)&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow. It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful. (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.(Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
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“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star”.&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word. (Zhao 2019:37)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
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Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
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Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
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Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
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Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
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Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
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Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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	<entry>
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		<title>Cult Load Words EN 10</title>
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		<updated>2021-12-14T04:46:37Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 4.1 Semantic Translation Theory in The Concubine Market of Yangchow */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic. Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
&lt;br /&gt;
(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation. So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.(Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture.(Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”. (Zhao 2019:36)&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
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Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
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&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<summary type="html">&lt;p&gt;Ding Xuan: /* 3.2 Communicative Translation */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
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丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act. It is used in the non-literary text, technical text and textbooks and so on. (Zhang 2008: 143)&lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance. (Zhang 2008: 143)&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
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“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
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He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
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Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
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(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
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A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
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One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
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“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
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Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
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(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
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Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<updated>2021-12-14T04:42:48Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 3.1 Semantic Translation */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
&lt;br /&gt;
====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures. The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture. (Zhang 2008:143)&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text. The other example is put forward by Feng Jiajia-- Lu Xun’s novel.(Zhang 2008: 143)&lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation.(Feng 2010:109)&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132745</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132745"/>
		<updated>2021-12-14T04:41:40Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 2.2.5 Linguistic Culture-Loaded Words */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
&lt;br /&gt;
====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels. The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead&amp;quot;. (Mei 2016:137)&lt;br /&gt;
&lt;br /&gt;
===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
&lt;br /&gt;
There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
&lt;br /&gt;
(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
&lt;br /&gt;
(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
&lt;br /&gt;
(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132742</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132742"/>
		<updated>2021-12-14T04:40:49Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 2.2.4 Religious Culture-Loaded Words */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”. These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
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(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
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“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
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Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
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(10)新人拜堂。(Line 26)&lt;br /&gt;
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The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
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“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
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===References===&lt;br /&gt;
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Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
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Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
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Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
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Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
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Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132741</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132741"/>
		<updated>2021-12-14T04:40:15Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 2.2.3 Social Culture-Loaded Words */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on. Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on. (Mei 2016:137)&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”(Mei 2016:137). These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on.&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132738</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132738"/>
		<updated>2021-12-14T04:39:28Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 2.2.2 Material Culture-Loaded Words */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
&lt;br /&gt;
====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures. These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words. (Chen 2011:144)&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on (Mei 2016:137). Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on .&lt;br /&gt;
&lt;br /&gt;
====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”(Mei 2016:137). These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on.&lt;br /&gt;
&lt;br /&gt;
====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
&lt;br /&gt;
There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
&lt;br /&gt;
(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
&lt;br /&gt;
(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132736</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132736"/>
		<updated>2021-12-14T04:38:55Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 2.2 Categorization of Culture-Loaded Words */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
&lt;br /&gt;
====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation''. They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words. (Newmark, 2001:94)&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures (Chen 2011:144). These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on (Mei 2016:137). Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on .&lt;br /&gt;
&lt;br /&gt;
====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”(Mei 2016:137). These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on.&lt;br /&gt;
&lt;br /&gt;
====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
&lt;br /&gt;
===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
&lt;br /&gt;
There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
&lt;br /&gt;
(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
&lt;br /&gt;
(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
&lt;br /&gt;
(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
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Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132735</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132735"/>
		<updated>2021-12-14T04:37:58Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 2.1 Definition of Culture-Loaded Words */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Language is the key of relative culture and literature and it can be fully understood only to be interwoven in its cultural background (Lyons 1981). Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. The research of words meaning should be put in the whole social context to highlight the communicaitve function (Leech 1981). Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture. (Liao 2000:232)&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation'' (Newmark, 2001:94). They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words.&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures (Chen 2011:144). These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words.&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on (Mei 2016:137). Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on .&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”(Mei 2016:137). These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on.&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
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“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
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He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
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Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
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(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
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A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
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One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
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“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
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Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
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(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
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Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
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“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
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(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
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Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
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Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
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(10)新人拜堂。(Line 26)&lt;br /&gt;
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The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
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“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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	<entry>
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		<title>Cult Load Words EN 10</title>
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		<updated>2021-12-14T04:26:59Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 1.1 Introducation of Zhang Dai */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise.(Zhang 2021:19)&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Therefore, culture is encoded and transmitted by the language which influences the way of thinking and viewing of the world and embodies cultural realities. On the contrary, language is the product of culture which influences language and makes language change to fit the development of culture. Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations (Liao 2000:232)”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture.&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation'' (Newmark, 2001:94). They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words.&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures (Chen 2011:144). These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words.&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on (Mei 2016:137). Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on .&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”(Mei 2016:137). These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on.&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132721</id>
		<title>Cult Load Words EN 10</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Cult_Load_Words_EN_10&amp;diff=132721"/>
		<updated>2021-12-14T04:26:23Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 1.2 Introduction of The Concubine Market of Yangchow */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise (Zhang 2021:19).&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse”. “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.(Wang 1994:80)&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Therefore, culture is encoded and transmitted by the language which influences the way of thinking and viewing of the world and embodies cultural realities. On the contrary, language is the product of culture which influences language and makes language change to fit the development of culture. Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations (Liao 2000:232)”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture.&lt;br /&gt;
&lt;br /&gt;
====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation'' (Newmark, 2001:94). They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures (Chen 2011:144). These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on (Mei 2016:137). Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on .&lt;br /&gt;
&lt;br /&gt;
====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”(Mei 2016:137). These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on.&lt;br /&gt;
&lt;br /&gt;
====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
&lt;br /&gt;
(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
&lt;br /&gt;
(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
&lt;br /&gt;
(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong 胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi 廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang 林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua 梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang 许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<updated>2021-12-14T04:24:55Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* References */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
&lt;br /&gt;
= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
[[Cult_Load_Words_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise (Zhang 2021:19).&lt;br /&gt;
&lt;br /&gt;
====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse” (Wang 1994:80). “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
&lt;br /&gt;
Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.&lt;br /&gt;
&lt;br /&gt;
''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Therefore, culture is encoded and transmitted by the language which influences the way of thinking and viewing of the world and embodies cultural realities. On the contrary, language is the product of culture which influences language and makes language change to fit the development of culture. Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations (Liao 2000:232)”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture.&lt;br /&gt;
&lt;br /&gt;
====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation'' (Newmark, 2001:94). They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
&lt;br /&gt;
====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures (Chen 2011:144). These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on (Mei 2016:137). Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on .&lt;br /&gt;
&lt;br /&gt;
====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”(Mei 2016:137). These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on.&lt;br /&gt;
&lt;br /&gt;
====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
&lt;br /&gt;
===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
&lt;br /&gt;
The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
&lt;br /&gt;
''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
&lt;br /&gt;
I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
&lt;br /&gt;
====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
&lt;br /&gt;
There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
&lt;br /&gt;
&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
&lt;br /&gt;
The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
&lt;br /&gt;
====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
&lt;br /&gt;
(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
&lt;br /&gt;
At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
&lt;br /&gt;
In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
&lt;br /&gt;
(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
&lt;br /&gt;
(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
&lt;br /&gt;
Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
&lt;br /&gt;
(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
&lt;br /&gt;
But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
&lt;br /&gt;
In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
&lt;br /&gt;
(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
&lt;br /&gt;
If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
&lt;br /&gt;
As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
&lt;br /&gt;
The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
&lt;br /&gt;
“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
&lt;br /&gt;
(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
&lt;br /&gt;
Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
&lt;br /&gt;
“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
&lt;br /&gt;
(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
&lt;br /&gt;
====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
&lt;br /&gt;
(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
&lt;br /&gt;
The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
&lt;br /&gt;
“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
&lt;br /&gt;
(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
&lt;br /&gt;
At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
&lt;br /&gt;
“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
&lt;br /&gt;
(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
&lt;br /&gt;
Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
&lt;br /&gt;
(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
&lt;br /&gt;
A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
&lt;br /&gt;
“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
&lt;br /&gt;
(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
&lt;br /&gt;
One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
&lt;br /&gt;
“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
&lt;br /&gt;
(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
&lt;br /&gt;
Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
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Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
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Zhao Huihui 赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
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		<title>Cult Load Words EN 10</title>
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		<updated>2021-12-14T04:24:08Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* References */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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= Chapter 10 : Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow '' of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory =&lt;br /&gt;
从纽马克翻译理论看林语堂版《扬州瘦马》中文化负载词的翻译&lt;br /&gt;
&lt;br /&gt;
丁旋 Ding Xuan, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise (Zhang 2021:19).&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse” (Wang 1994:80). “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Therefore, culture is encoded and transmitted by the language which influences the way of thinking and viewing of the world and embodies cultural realities. On the contrary, language is the product of culture which influences language and makes language change to fit the development of culture. Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations (Liao 2000:232)”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture.&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation'' (Newmark, 2001:94). They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words.&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures (Chen 2011:144). These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words.&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on (Mei 2016:137). Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on .&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”(Mei 2016:137). These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on.&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
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“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
&lt;br /&gt;
He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
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Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
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(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
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A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
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One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
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“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
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Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
&lt;br /&gt;
“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
&lt;br /&gt;
(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
&lt;br /&gt;
There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
&lt;br /&gt;
“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
&lt;br /&gt;
(8)未去半里（Line 21）&lt;br /&gt;
&lt;br /&gt;
Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
&lt;br /&gt;
“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
 &lt;br /&gt;
(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
&lt;br /&gt;
Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
&lt;br /&gt;
Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Brook T. (2001) Praying for Power: Buddhism and the Formation of Gentry Society in Late-Ming China[M]. Cambridge: Harvard University Asia Center.&lt;br /&gt;
&lt;br /&gt;
Feng Jiajia, Huang Jianfeng 冯家佳, 黄建凤(2010). 纽马克翻译理论与汉语文化负载词的翻译[J] Newmark's Translation Theory and the Translation of Chinese Culture-loaded Words. 东南亚纵横 Around Southeast Asia, 4: 109-111.&lt;br /&gt;
&lt;br /&gt;
Hu Wenzhong胡文仲(1999).  跨文化交际学概论[M] An Introduction to Cross-cultural Communication. 北京：外语教学与研究出版社 Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Leech, G. (1989) Semantics[M]. Harmondsworth: Penguin. &lt;br /&gt;
&lt;br /&gt;
Liao Qiyi廖七一(2002).  当代西方翻译理论探索M] Exploration of Contemporary Western Translation Theories. 南京：译林出版社 Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Lin Yutang林语堂(2012)   . 扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译[M] The Concubine Market of Yangchow: Comparison between Chinese and English/(Warring States Period) Zhuang Zi et al. Translated by Lin Yu Tang. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
&lt;br /&gt;
Lyons, J. (1981) Language and Linguistics: An Introduction[M]. Cambridge: CUP.&lt;br /&gt;
&lt;br /&gt;
Mei Yanhong, Nan Hua梅艳红, 南华(2016). 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J] Translation of Culture-loaded words from the Perspective of Skopos Theory: A Case study of Ba Jin's Home. 广西教育 Education of Guangxi, 7: 137-139.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1994) A Textbook of Translation[M]. New York:Prentice Hall.&lt;br /&gt;
&lt;br /&gt;
Nida, E. (1993) Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Wang Yuanhua 王元华 (1994).  扬州“瘦马”的由来[J] The origin of “Lean Horse” in Yangchow. 古典文学知识 Knowledge of Classical Literature, 2: 80-81.&lt;br /&gt;
&lt;br /&gt;
Xu Guozhang许国璋 (1980). 文化负载词与外语教学[J] Culturally Loaded Words and English Language Teaching. 现代外语 Modern Foreign Language, 4: 19-25.&lt;br /&gt;
&lt;br /&gt;
Zhang Jianhui, Chen Kai 张建辉, 陈凯 (2008).  彼得·纽马克翻译理论浅析[J] A Brief Analysis of Peter Newmark's Translation Theory. 河北师范大学学报 Journal of Hebei Normal University, 6: 142-144.&lt;br /&gt;
&lt;br /&gt;
Zhang Zetong 张则桐(2021). 买妾程式中的热闹和苍凉——张岱《扬州瘦马》的人性之思[J] The Bustle and Desolation of Buying Concubine Program--Mediation on Humanity of The Concubine Market of Yangchow . 寻根 Seek Roots, 5: 19-24.&lt;br /&gt;
&lt;br /&gt;
Zhao Huihui赵慧慧(2019). 浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J] Brief Analysis on the English Translation of Culture-loaded Words in Lin Yutang's The Concubine Market in Yangchow -- from the Perspective of Domestication and Foreignization . 青年文学家Youth Literator, 27: 36-38.&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&amp;diff=132275</id>
		<title>Introduction to Translation Studies 2021</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Introduction_to_Translation_Studies_2021&amp;diff=132275"/>
		<updated>2021-12-13T14:52:49Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* Final exam class projects */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|This course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|all homework webpages]] &lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''Deadline Dec 9, 2021 [[20220112_final_exam|final exam page]] - final deadline after correction: Dec 15, 2021'''&amp;lt;/span&amp;gt;&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
Welcome to our course website '''Introduction to Translation Studies 2021'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is mostly welcome!&lt;br /&gt;
&lt;br /&gt;
欢迎访问我们“翻译导论课”的网页。…………&lt;br /&gt;
&lt;br /&gt;
=Session 1 Sep 26, 2021=&lt;br /&gt;
Today is international day of languages!&lt;br /&gt;
&lt;br /&gt;
Introduction to the course. Organizational things. Working with the Wiki.&lt;br /&gt;
==Organizational Things==&lt;br /&gt;
*Please register for the Course Wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. If the name is taken, write &amp;quot;Wang Jianguo1&amp;quot;. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TransStud and edit the contents. You need to edit the course website every week to prepare the upcoming session. &lt;br /&gt;
*Please prepare each session during the week before, so that you come prepared to class.&lt;br /&gt;
*In the WeChat group, please write your name as &amp;quot;Wang Jianguo 王建国 21级 英语口译&amp;quot;. If possible, please use a profile photo of yourself where you can be recognized. 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、21级、方向）就好。&lt;br /&gt;
*We meet Wednesdays 7 pm - 8:40 pm online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). Please leave your camera ON, so that we actually see each other. In the classroom, we also see each other.&lt;br /&gt;
*Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.&lt;br /&gt;
* Please take the weekly survey http://bit.ly/EU-SURVEY&lt;br /&gt;
* Please store the pdf material you get from the teacher. Please prepare the material for each session in advance.&lt;br /&gt;
&lt;br /&gt;
==Edits==&lt;br /&gt;
Every student is required to edit something every week. This can be:&lt;br /&gt;
* Translate any English paragraph on this website from English to Chinese.&lt;br /&gt;
* Correct an earlier translation of your fellow student beneath.&lt;br /&gt;
* Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.&lt;br /&gt;
* Prepare the final exam paper as early as possible by writing a chapter for a book on &amp;quot;History of Translations&amp;quot;, &amp;quot;History of Translation Theories&amp;quot;, &amp;quot;Machine translation - A challenge or a chance for human translators?&amp;quot;, &amp;quot;Culture loaded words&amp;quot;, &amp;quot;The cultural turn in Translation History&amp;quot;, &amp;quot;Appropriateness Theory&amp;quot; ... For this, please organize yourself, find groups who want to write the same book together, and think together about the necessary chapters and the structure etc. of the book. The paper needs to be delivered until November 1. Then we jointly work on copy editing, grading etc.&lt;br /&gt;
* The Teaching Assistants should write the grades every week in a table, so that you can see the results of your quizzes/surveys etc., your performance in class and final exam paper grades.&lt;br /&gt;
&lt;br /&gt;
==Topics, Sessions and Material==&lt;br /&gt;
&lt;br /&gt;
'''Which paper or book should I read to prepare my presentation?'''&lt;br /&gt;
&lt;br /&gt;
Please also mention in this list beneath, '''who''' is presenting the topic with '''ppt''' and '''handout'''.&lt;br /&gt;
&lt;br /&gt;
1 Sep 26 Introduction	&lt;br /&gt;
&lt;br /&gt;
2 Sep 29 Emergence I&lt;br /&gt;
*Teacher presentation&lt;br /&gt;
&lt;br /&gt;
3 Oct 13 Emergence II&lt;br /&gt;
*3a Xu, Jun 许钧, Mu Lei 穆雷. &amp;quot;翻译学概论 [Introduction to Translation Studies].&amp;quot; 南京: 译林出版社2009:195 pp., here 180-192.&lt;br /&gt;
*3b=7c Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017, here the beginning about the emergence&lt;br /&gt;
&lt;br /&gt;
4 Oct 20 History of Translation &lt;br /&gt;
*4a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.&lt;br /&gt;
*4b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.&lt;br /&gt;
&lt;br /&gt;
5 Oct 27 Early understanding&lt;br /&gt;
&lt;br /&gt;
The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.&lt;br /&gt;
	&lt;br /&gt;
*5a Holmes, James.  1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam:  Rodopi, 1988: 67-80.&lt;br /&gt;
*5b Sourcebook	Lefevere, Andre. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, 1990.&lt;br /&gt;
*5c Textbook	Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.&lt;br /&gt;
*5d Translation Basics	刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.&lt;br /&gt;
&lt;br /&gt;
6 Nov 3 Linguistics and Equivalence (Nida)&lt;br /&gt;
*6a Early linguistic theory	Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.&lt;br /&gt;
*6b Early important understanding	Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.&lt;br /&gt;
&lt;br /&gt;
7 Nov 10 Translation Studies&lt;br /&gt;
*7a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. &lt;br /&gt;
*7b Translation Studies	许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.&lt;br /&gt;
*7c=3b Tan Zaixi 谭载喜. Translation Studies 翻译学[M]. 武汉：湖北教育出版社，2000年. (the 2nd part contains a lot of English papers)&lt;br /&gt;
*7d Categories of Contemporary Western Translation Studies 2002_Pan_Wenguo_潘文国_当代西方的翻译学研究_2002&lt;br /&gt;
&lt;br /&gt;
8 Nov 17 Translation Theories&lt;br /&gt;
*8a Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.&lt;br /&gt;
*8b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.&lt;br /&gt;
*8c Contemp. West. theories	廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.&lt;br /&gt;
*8d  Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003&lt;br /&gt;
*8e Pan_Wenguo_Cont_West_Trans_Stud_当代西方的翻译学研究_兼谈_翻译学的学科性问题_潘文国&lt;br /&gt;
&lt;br /&gt;
9 Nov 24 History of Chinese Translation Theories&lt;br /&gt;
*9a 陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.&lt;br /&gt;
*9b 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.&lt;br /&gt;
&lt;br /&gt;
10 Dec 1 Appropriateness Theory&lt;br /&gt;
*10a Moratto, Woesler: Current Dynamics, Springer 2021&lt;br /&gt;
&lt;br /&gt;
11 Dec 8 Methods and Style&lt;br /&gt;
*11a Methods	Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.&lt;br /&gt;
*11b Style	刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.&lt;br /&gt;
*11c Trans_Stud_Problems_and_Methods_翻译学问题与方法&lt;br /&gt;
&lt;br /&gt;
12 Dec 15 Theory and Practice	&lt;br /&gt;
*12a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.&lt;br /&gt;
*12b Theory and Practice	Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.&lt;br /&gt;
*12c Theory and Practice	Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.&lt;br /&gt;
&lt;br /&gt;
13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism&lt;br /&gt;
*13a “descriptive”	Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia:  John BenjaminB Publishing company, 1995.&lt;br /&gt;
*13b Culture	Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.&lt;br /&gt;
*13c Invisibility	Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.&lt;br /&gt;
*13d Constructivism Research	易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.&lt;br /&gt;
*13e Art or Science? Different papers by Huang Zhending Trans_Stud_Art_and_Scient_Theory_翻译学艺术论与科学论的统一&lt;br /&gt;
&lt;br /&gt;
14 Dec 29 East-West Comparison&lt;br /&gt;
*14a East-West comparison	刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.&lt;br /&gt;
*14b English-Chinese TS	蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.&lt;br /&gt;
&lt;br /&gt;
15 Jan 5 Review in Preparation of final exam&lt;br /&gt;
&lt;br /&gt;
16 Jan 12 Final Exam&lt;br /&gt;
&lt;br /&gt;
Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.&lt;br /&gt;
&lt;br /&gt;
*Bassnett, Susan. Translation studies. Routledge, 2013&lt;br /&gt;
*Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 &lt;br /&gt;
*Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.&lt;br /&gt;
*Chen, Fukang. &amp;quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&amp;quot; (1992).&lt;br /&gt;
*Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.&lt;br /&gt;
*Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.&lt;br /&gt;
*Huang, Chending黄振定. &amp;quot;文学翻译评价的科学性及其科学论.&amp;quot; 外国语 4 (1999): 49-56.&lt;br /&gt;
*Huang, Chending 黄振定. &amp;quot;翻译学是一门人文科学.&amp;quot; 外语与外语教学 2 (1999): 33-35.&lt;br /&gt;
*Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008&lt;br /&gt;
*Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.&lt;br /&gt;
*Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013&lt;br /&gt;
*Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.&lt;br /&gt;
*Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.&lt;br /&gt;
*Pan Wenguo 潘文国. &amp;quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&amp;quot; 中国翻译 23.1 (2002): 31-34.&lt;br /&gt;
*Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017&lt;br /&gt;
*Toury, Gideon. &amp;quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&amp;quot; Amsterdam/Philadelphia (1995).&lt;br /&gt;
*Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.&lt;br /&gt;
*Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).&lt;br /&gt;
*Xu, Jun 许钧, Mu Lei 穆雷. &amp;quot;翻译学概论 [Introduction to Translation Studies].&amp;quot; 南京: 译林出版社 10 (2009): 180-192.&lt;br /&gt;
*Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003&lt;br /&gt;
*Zhao, Wei 赵巍. &amp;quot;翻译学学科性质与研究方法反思.&amp;quot; 解放军外国语学院学报 28.6 (2005): 69-72.&lt;br /&gt;
&lt;br /&gt;
(We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)&lt;br /&gt;
&lt;br /&gt;
==Final exam class projects==&lt;br /&gt;
&lt;br /&gt;
Please help to edit one of the following book publications (please write your name behind the topics and organize the book with a proposal for the press and a chapter in the form of a journal paper by each participant):&lt;br /&gt;
*[[History of Translation Studies]] (Sample from last year.)&lt;br /&gt;
*[[History of Translations]] &lt;br /&gt;
Rouabah Soumaya( History of translation in the Middle Ages) 李习长 (History of Modern and Contemporary Chinese Translation) 黄柱梁（The Translation of Buddihist Sutra in China） 王镇隆 叶维杰 李雯( The Translation theory after the establishment of the People's Republic of China)李怡(Modern Western Translation History) 李新星 刘沛婷(Western Translation history in Renaissance) 刘薇(Contemporary American Translation History)  周俊辉 周玖 钟雨露 钟义菲 魏楚璇(western translation history in the modern and contemporary Age)&lt;br /&gt;
*[[History of Translation Theories]] 李瑞洋（Development of Translation Theories in Modern China）、陈心怡 张扬、曾俊霖 张怡然(History of Translation Theories from early Russia to the Soviet Union) 尹媛（The Brief Introduction of American structural school of translation theory) 李双 杨堃 刘运心 魏兆妍(The Development of Humanism Trend in Western Translation Theory) 吴婧悦(History of Translation Theories in the Soviet Union) 杨爱江&lt;br /&gt;
*[[Machine translation]] - A challenge or a chance for human translators? 卫怡雯 肖毅瑶 王李菲 徐敏赟 颜莉莉 颜静 谢佳芬 熊敏 陈惠妮 蔡珠凤 陈湘琼 Nadia&lt;br /&gt;
*[[Culture loaded words]] 羊叶（中文电影英译字幕中文化负载词的翻译——以《霸王别姬》为例）、谢庆琳、罗曦（The translation methods of culture loaded words） 何芩、孙雅诗、杜莉娜（跨文化交际视角下旅游文本中文化负载词的英汉翻译研究）、宫博雅（俄语成语中文化负载词的中文翻译分析）、周小雪(《药》英日译本中文化负载词的翻译对比研究）、付诗雨（博物馆文物解说词中文化负载词的日译研究）、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)、高蜜、殷慧珍、程杨、胡舒情&lt;br /&gt;
*[[The cultural turn]] in Translation History 金晓童 李爱璇 李文璇 黄锦云 李姗 黄逸妍&lt;br /&gt;
*[[Appropriateness Theory]] - Ei Mon Kyaw (Creating Appropriateness Theory). I need more students here. You can write papers criticizing existing theories here and suggest what needs to be improved to develop a new theory! This is cutting edge research here! I expect the best students to participate and we may try to submit the papers to real academic journals!Ei Mon Kyaw (Creating Appropriateness Theory). 殷美达 易扬帆（Appropriateness in Lyrics Translation -- A Case Study of Lana Del Rey's Lyrics Translation in QQ Music）&lt;br /&gt;
*[[Translation types, strategies, styles, methods]] 刘晓（纽马克翻译理论指导下旅游文本中翻译策略与翻译技巧的使用——以''Everglades National Park, Florida (Excerpt)''为例） 刘越 毛雅文 毛优（俄语政论语体翻译策略及翻译技巧的使用——以“2019年俄罗斯政府工作报告”为例 彭瑞雪 秦建安（功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例） 颜子涵  邝艳丽 阳佳颖 杨柳青（卞之琳的文学翻译理论和实践 ——以其浪漫主义诗歌译作为例）Atta Ur Rahman、Zohaib Chand、Muhammad Numan、Muhammad Saqib Mehran 刘胜楠（浅析目的论视角下《哪吒之魔童降世》字幕翻译策略）&lt;br /&gt;
*[[Aesthetic Appreciation of Literary Translations]]  朱素珍   邹岳丽 邱婷婷(Three beauties embodied in Xu Yuanchong's English translation of ''Tang Poetry'') 吴映红(A comparative study of aesthetic reproduction in Chinese versions of snow country from the perspective of translation aesthetics)&lt;br /&gt;
*[[Translation Theories Apllied to Literary Translations]]  周巧 付红岩 詹若萱（Chinese Translation of Subtitles of &amp;quot;Jane Eyre&amp;quot; from the Perspective of Functional Equivalence Theory）&lt;br /&gt;
*[[Comparative Studies in Translation]] 石丽青 牟一心 饶金盈 罗安怡 马新 王逸凡 张秋怡 朱壬铎&lt;br /&gt;
&lt;br /&gt;
(We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)&lt;br /&gt;
&lt;br /&gt;
==Schedule==&lt;br /&gt;
Please add your name, presentation form (ppt, handout) and subtopic here.&lt;br /&gt;
&lt;br /&gt;
'''All sessions''': &lt;br /&gt;
*1 Sep 26 Introduction&lt;br /&gt;
*2 Sep 29 Emergence I&lt;br /&gt;
*3 Oct 13 Emergence II &lt;br /&gt;
(中国翻译的起源 The Emergence of Translation Studies in China) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳.&lt;br /&gt;
 &lt;br /&gt;
(机器翻译的起源与发展 The Origin of Machine Translation) ppt by Yan Jing 颜静 and handout by Xu Minyun 徐敏赟.&lt;br /&gt;
&lt;br /&gt;
*4 Oct 20 History of Translation &lt;br /&gt;
(中国翻译简史 The Brief History of Chinese Translation) ppt by Hu Shuqing 胡舒情 and handout by Gong Boya 宫博雅. &lt;br /&gt;
&lt;br /&gt;
(西方翻译简史 The Brief History of Western Translation) ppt by Ding Xuan 丁旋 and handout by Fu Shiyu 付诗雨.&lt;br /&gt;
&lt;br /&gt;
(中国译场中佛经翻译的历史 The History of Buddhist Scripture Translation in Chinese Translation Center) PPT by Ye Weijie 叶维杰 and handout by Wang Zhenlong 王镇隆. &lt;br /&gt;
&lt;br /&gt;
(中国诗歌翻译简史 A Brief History of Chinese Poetry Translation) ppt by Rao Jinying 饶金盈 202120081520 and handout by Mou Yixin 牟一心.&lt;br /&gt;
&lt;br /&gt;
(2000年以来的大中华文库翻译历史 The Translation History of Library of Chinese Classics Since 2000) ppt by Zhang Yang 张扬 and handout by Zeng Junlin曾俊霖.&lt;br /&gt;
&lt;br /&gt;
*5 Oct 27 Early understanding &lt;br /&gt;
The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until Maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions About principles, strategies etc.&lt;br /&gt;
&lt;br /&gt;
(佛经翻译的文质之争 The Debates Between Wen and Zhi on Buddhist Scriptures Translation) ppt by He Qin 何芩 202120081489 and handout by Gao Mi高蜜.&lt;br /&gt;
&lt;br /&gt;
(林语堂的翻译 Translation by Lin Yutang) ppt by  Xie Jiafen 谢佳芬 and handout by Yan Lili 颜莉莉.&lt;br /&gt;
&lt;br /&gt;
*6 Nov 3 Linguistics and Equivalence (Nida) &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;&lt;br /&gt;
&lt;br /&gt;
(J.C.Catford's Translation Equivalence Theory) ppt by Huang Yiyan 黄逸妍 and handout by Huang Jinyun 黄锦云.&lt;br /&gt;
&lt;br /&gt;
(Two Types of Equivalence by Eugene A. Nida) ppt by Du Lina 杜莉娜 and handout by Ma Xin 马新.&lt;br /&gt;
&lt;br /&gt;
(The Three Essences of Functional Equivalence and Its Application) ppt by Yi Yangfan 易扬帆 and handout by Yin Yuan 尹媛.&lt;br /&gt;
&lt;br /&gt;
(Eugene Nida's Principles of Correspondence Theory) ppt by Chen Huini 陈慧妮 and handout by Cai Zhufeng 蔡珠凤.&lt;br /&gt;
&lt;br /&gt;
*6 Nov 10 Translation Studies&lt;br /&gt;
(The Name and Nature of Translation Studies)ppt by Liu Shengnan刘胜楠; handout by Li Yi李怡 &lt;br /&gt;
&lt;br /&gt;
(Five Approaches to Translation)ppt by Li Wenxuan李文璇; handout by Li Shan 李姗 &lt;br /&gt;
&lt;br /&gt;
(Principles of Translation)ppt by Xiao Yiyao肖毅瑶; handout by Wu Yinghong吴映红&lt;br /&gt;
&lt;br /&gt;
(Cultural and Ideological Approaches in Translation)ppt by Mahzad Heydarian; handout by Mahzad Heydarian&lt;br /&gt;
&lt;br /&gt;
(Roman Jacobson's Categories of Translation)ppt by Xiong Min熊敏; handout by Sun Yashi孙雅诗&lt;br /&gt;
&lt;br /&gt;
(Lin Yutang' s Translation Aesthetics )ppt by Luo Anyi罗安怡; handout by Shi Liqing石丽青&lt;br /&gt;
	&lt;br /&gt;
*8 Nov 17 Translation Theories &lt;br /&gt;
(Translation Theories of George Steiner)ppt by Yang Liuqing 杨柳青; handout by Yin Huizhen 殷慧珍&lt;br /&gt;
&lt;br /&gt;
(The Functional Translation Theory of Reiss, Vermeer and Nord)ppt by Peng Ruixue 彭瑞雪;handout by Qin Jianan 秦建安.&lt;br /&gt;
&lt;br /&gt;
(Translation Theories of Peter Newmark) ppt by Liu Xiao 刘晓; handout by Liu Yue 刘越.&lt;br /&gt;
&lt;br /&gt;
(Yan Fu's Translation Thoughts)ppt by Wang Lifei 王李菲; handout  by Wei Chuxuan 魏楚璇&lt;br /&gt;
&lt;br /&gt;
(Translation theorie of Xu Yuanchong) ppt by Zhouqing周清; handout by Zou Yueli邹岳丽.&lt;br /&gt;
&lt;br /&gt;
*9 Nov 24 History of Chinese Translation Theories &lt;br /&gt;
(The History of Chinese Translation Theories in Qing Dynasty)ppt by Cheng Yang 程杨 and handout by Li Shuang 李双.&lt;br /&gt;
&lt;br /&gt;
(The History of Chinese Buddhist Translation Theories)ppt by Qiu Tingting邱婷婷; handout by Wei Yiwen 卫怡雯&lt;br /&gt;
&lt;br /&gt;
(The Chinese Translation Theories During the Period of the May Forth Movement)ppt by Li Wen 李雯; handout by Zhou Xiaoxue 周小雪&lt;br /&gt;
&lt;br /&gt;
(The History of Chinese Translation Theories from 1949 to Present)ppt by Yang Aijiang 杨爱江; handout by Yang Kun 杨堃&lt;br /&gt;
&lt;br /&gt;
*10 Dec 1 Appropriateness Theory - this is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.&lt;br /&gt;
&lt;br /&gt;
(Appropriateness Theory) ppt by Yin Meida殷美达 and handout by Ei Mon Kyaw 艾梦觉&lt;br /&gt;
&lt;br /&gt;
*11 Dec 8 Methods and Style&lt;br /&gt;
(The Literal Translation and Free Translation)ppt by Zhong Yifei钟义菲; handout by Zhong Yulu钟雨露.&lt;br /&gt;
&lt;br /&gt;
(The Amplification and Omission in Translation)ppt by Zhou Jiu周玖; handout by Zhou Junhui周俊辉.&lt;br /&gt;
&lt;br /&gt;
(Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example)ppt by Li Aixuan李爱璇；handout by Jing Xiaotong金晓童.&lt;br /&gt;
&lt;br /&gt;
(Translation Methods of Idioms)ppt by Liu Yunxin 刘运心; handout by Li Ruiyang 李瑞洋&lt;br /&gt;
&lt;br /&gt;
(Domestication and Foreignization)pptx by Chen Jing 陈静; handout by Chen Xinyi 陈心怡&lt;br /&gt;
&lt;br /&gt;
*12 Dec 15 Theory and Practice. &lt;br /&gt;
(The value and limits of Nida's Functional Equivalence Theory in its Application of Literature)	ppt by 詹若萱 and handout by 罗曦&lt;br /&gt;
(Catford's Translation Shift Theory and its practice)ppt by 周巧and handout by  朱素珍&lt;br /&gt;
(An Analysis of Different Versions on the Basis of the Three Beauties of Xu Yuanchong)	ppt by 邝艳丽 and handout by 付红岩&lt;br /&gt;
(庞德的翻译理论及其在《华夏集》中的应用 Ezra Pound's translation theory and its application in Cathay) handout by 张秋怡 and ppt by 王逸凡&lt;br /&gt;
() Skopos Theory and its Application ppt by 刘沛婷 and handout by 李新星&lt;br /&gt;
&lt;br /&gt;
*13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism&lt;br /&gt;
() ppt by 殷美达 and handout by 张怡然&lt;br /&gt;
&lt;br /&gt;
*14 Dec 29 East-West Comparison&lt;br /&gt;
()ppt by刘薇 and handout by黄柱梁&lt;br /&gt;
()ppt by魏兆妍	and handout by 吴婧悦&lt;br /&gt;
()ppt by阳佳颖 and handout by	颜子涵&lt;br /&gt;
(韦努蒂与鲁迅异化翻译策略之比较 A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy) ppt by毛优 and handout by 毛雅文&lt;br /&gt;
*15 Jan 5 Review in Preparation of final exam&lt;br /&gt;
*16 Jan 12 Final Exam&lt;br /&gt;
&lt;br /&gt;
== Homework from Session 1 Sep 26 due on Sep 29, 2021 ==&lt;br /&gt;
&lt;br /&gt;
1. Take the survey after session 1: http://bit.ly/EU-SURVEY&lt;br /&gt;
&lt;br /&gt;
2. Please fill in the 2nd quiz (to show that you have read the texts for session 2) before session 2. (Will be added later.)&lt;br /&gt;
&lt;br /&gt;
3. Every student should translate 1 sentence. Here is the [[20210929_homework|homework page]]. - IN PREPARATION...&lt;br /&gt;
&lt;br /&gt;
*[[20210929_homework|homework of session 1 for session 2 Sep 29]]&lt;br /&gt;
&lt;br /&gt;
4. Help a fellow student to improve his/her translation on that page. The final translation is once more worked over by the teacher, please check your own sentence [[20210929_homework|here]].&lt;br /&gt;
&lt;br /&gt;
*[[20210929_homework|homework of session 1 for session 2 Sep 29]]&lt;br /&gt;
&lt;br /&gt;
5. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!&lt;br /&gt;
&lt;br /&gt;
===Homework for later===&lt;br /&gt;
4. Write a final exam paper as a chapter of the book &amp;quot;Translation Studies&amp;quot;, ... It has to be a topic, not yet chosen by any other student in the book. I will upload the book here later. You can participate in writing this book.&lt;br /&gt;
&lt;br /&gt;
5. Get familiar with the pdfs I send you on WeChat group as learning material.&lt;br /&gt;
&lt;br /&gt;
=Session 2, Sep 29: Emergence I=&lt;br /&gt;
*Teacher presentation&lt;br /&gt;
*Survey http://bit.ly/Eval-01&lt;br /&gt;
*Please select a topic to do a ppt or handout on&lt;br /&gt;
*Review homework&lt;br /&gt;
*Prepare final exam&lt;br /&gt;
&lt;br /&gt;
===Homework for this session Sep 29===&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 2 (Emergence I)&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20210929_homework|homework of session 1 for session 2 Sep 29]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
==Session 2, Sep 29, Topic 1: Emergence I - Emergence in China==&lt;br /&gt;
*Teacher presentation:  [[Media:Emergence_I.pptx|Teacher presentation on the Emergence of Translation]] by Martin Woesler --[[User:Root|Root]] ([[User talk:Root|talk]]) 11:44, 13 October 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Homework for next session Oct 13==&lt;br /&gt;
&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 3 (Emergence II)&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211013_homework|homework of session 2 for session 3 Oct 13]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211013_homework|homework of session 2 for session 3 Oct 13]]&lt;br /&gt;
&lt;br /&gt;
4. Please write your name behind one of the [[Introduction_to_Translation_Studies_2021#Final_exam_class_projects|book projects]] where you want to write a chapter as your final exam paper. Also indicate the topic of your chapter in this book project.&lt;br /&gt;
&lt;br /&gt;
5. (Only for students who do presentation on Oct 13: Emergence II (中国新时期翻译研究发展的起源 The origin of translation studies in China in the new Era) ppt by Chen Xiangqiong 陈湘琼 and handout by Xie Qinglin 谢庆琳. (Emergence of Oral Interpretation) ppt by Shan Gongfei:) Prepare ppt or handout.(机器翻译的起源 The Origin of Machine Translation) handout by Xu Minyun 徐敏赟 202120081535 and powerpoint by Yan Jing 颜静 202120081536.&lt;br /&gt;
&lt;br /&gt;
=Session 3, Oct 13, Topic 2: Emergence II - Emergence in China=&lt;br /&gt;
==Homework for this session Oct 13==&lt;br /&gt;
&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 3 (Emergence II)&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211013_homework|homework of session 2 for session 3 Oct 13]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211013_homework|homework of session 2 for session 3 Oct 13]]&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations in Session 3, Emergence of Translation II==&lt;br /&gt;
&lt;br /&gt;
*ppt:  [[Media:03 Emergence of translations in China by Xie Qinglin.pptx|Presentation on Emergence of translation study in China 中国翻译的起源]] by Chen Xiangqiong 陈湘琼; handout [[Media:03_Xie_Qinglin_Emergence_of_translations_in_China.docx|Emergence of translation studies in China]]  by Xie Qinglin 谢庆琳&lt;br /&gt;
&lt;br /&gt;
Tip: Since the topics are sorted roughly chronologically, this topic should be the emergence of translation rather than emergence of translation studies.&lt;br /&gt;
&lt;br /&gt;
*ppt:  [[Media:The_Origin_of_Machine_Translation_by_Yan_Jing.pptx|Presentation on Origin of Machine Translation 机器翻译的起源与发展]] by Yan Jing 颜静; handout [[Media:The_Origin_of_Machine_Translation_by_Xu_Minyun.docx|Origin of Machine Translation handout]] by Xu Minyun 徐敏赟&lt;br /&gt;
&lt;br /&gt;
Tip: This topic is also very modern, it should be presented at the end of the semester.&lt;br /&gt;
&lt;br /&gt;
==Homework for next session Oct 20==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 3 (Emergence II)&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211020_homework|homework of session 3 for session 4 Oct 20]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 4, Oct 20, Topic 3=&lt;br /&gt;
==Homework for this session Oct 20==&lt;br /&gt;
&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 4&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211020_homework|homework of session 3 for session 4 Oct 20]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 20:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations on History of Translation, session 4==&lt;br /&gt;
* ppt:  [[Media: The brief history of western translation_by_Ding_Xuan.pptx|Presentation on The brief history of western translation]] by Ding Xuan; handout [[Media:The brief history of Western translation.doc| The brief history of western translation]] by Fu Shiyu&lt;br /&gt;
*ppt:  [[Media: The brief history of Chinese translation.pptx|Presentation on The brief history of Chinese translation]] by Hu Shuqing; handout [[Media:The brief history of Chinese translation_by_Gong_Boya.doc| The brief history of Chinese translation]] by Gong Boya&lt;br /&gt;
* ppt:[[Media: A brief history of Chinese poetry translation.pptx|Presentation on A brief history of Chinese poetry translation]] by Rao Jinying; handout: [[Media: A brief history of Chinese poetry translation.doc| A brief history of Chinese poetry translation]] by Mou Yixin&lt;br /&gt;
* ppt:[[Media: The Translation history of Library of Chinese Classics  Since 2000.pptx|Presentation on The Translation history of Library of Chinese Classics Since 2000]] by Zhang Yang; handout: [[Media: The Translation history of Library of Chinese Classics Since 2000_by_Zeng_Junlin.doc| The Translation history of Library of Chinese Classics]] by Zeng Junlin&lt;br /&gt;
* ppt:[[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.pptx|Presentation on The History of Buddhist Scripture Translation in Chinese Translation Center]] by Ye Weijie; handout: [[Media: The History of Buddhist Scripture Translation in Chinese Translation Center.docx| The History of Buddhist Scripture Translation in Chinese Translation Center]] by Wang Zhenlong&lt;br /&gt;
&lt;br /&gt;
==Homework for next session Oct 27==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 5&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211027_homework|homework of session 4 for session 5 Oct 27]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 5, Oct 27, Topic 4 Early Understanding of Translation (no elaborated theories yet)=&lt;br /&gt;
==Homework for this session Oct 27==&lt;br /&gt;
&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 5&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211027_homework|homework of session 4 for session 5 Oct 27]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Oct 27 on Early Understanding==&lt;br /&gt;
&lt;br /&gt;
* Teacher presentation: [[Media:05_Transl_Studies_Emergence2_History.pptx|Powerpoint for the Sessions 3-5 by Martin Woesler, please download from this link]]&lt;br /&gt;
&lt;br /&gt;
The early understanding next session refers to the very early theoretical understanding of the Translation process from ancient times until maybe up to the middle of the 20th century. There are no elaborated theories yet, but at least some discussions about principles, strategies etc.&lt;br /&gt;
&lt;br /&gt;
* ppt:   [[Media: Tranlation by Lin Yutang.pptx|Translation by Lin Yutang]] by Xie Jiafen; handout [[Media: Tranlation by Lin Yutang(handout).docx| Translation by Lin Yutang(handout)]] by Yan Lili&lt;br /&gt;
* ppt:  [[Media: The Debates Between Wen and Zhi on Buddhist Scriptures Translation.pptx|The Debates Between Wen and Zhi on Buddhist Scriptures Translation]] by He Qin; handout [[Media: The Wen-Zhi Debate in the history of sutra translation (handout).docx| The Wen-Zhi Debate in the History of Sutra Translation (handout)]] by Gao Mi&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 6, Nov 3==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 6&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211103_homework|homework of session 5 for session 6, Nov 3]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=Session 6, Nov 3, Topic 5 Translation Equivalence, Nida and Linguistics=&lt;br /&gt;
==Homework for this session Nov 3==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 6&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211103_homework|homework of session 5 for session 6 Nov 3]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Nov 3 on Linguistics and Equivalence(Nida)==&lt;br /&gt;
&lt;br /&gt;
* ppt:  [[Media:J.C.Catford's Translation Equivalence Theory(ppt).pptx|J.C.Catford's Translation Equivalence Theory(ppt)]] by Huang Yiyan; handout [[Media:Translation Equivalence Theory.docx|J.C.Catford's Translation Equivalence Theory]] by Huang Jinyun&lt;br /&gt;
* ppt:  [[Media:Two Types of Equivalence by Eugene A. Nida(ppt).pptx|Two Types of Equivalence by Eugene A. Nida(ppt)]] by Du Lina; handout [[Media: Two Types of Equivalence by Eugene A. Nida.docx|Two Types of Equivalence by Eugene A. Nida]] by Ma Xin&lt;br /&gt;
* ppt:  [[Media:The Three Essences of Functional Equivalence and Its Application.pptx|The Three Essences of Functional Equivalence and Its Application]] by Yi Yangfan; handout [[Media: The Three Essences of Functional Equivalence and Its Application.docx|The Three Essences of Functional Equivalence and Its Application]] by Yin Yuan&lt;br /&gt;
* ppt:  [[Media:Eugene Nida ‘s Principles of Correspondence Theory(ppt).pptx|Eugene Nida ‘s Principles of Correspondence Theory(ppt)]] by Chen Huini; handout [[Media:Eugene Nida ‘s Principles of Correspondence Theory.docx|Eugene Nida ‘s Principles of Correspondence Theory]] by Cai Zhufeng&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 7, Nov 10==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 7&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211110_homework|homework of session 6 for session 7, Nov 10]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 10:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
5. WRITE A DRAFT OF YOUR FINAL EXAM PAPER!&lt;br /&gt;
*[[20220112_final_exam|Final Exam paper page]]&lt;br /&gt;
&lt;br /&gt;
=Session 7, Nov 10, Topic 6 Translation Studies=&lt;br /&gt;
==Homework for this session Nov 10==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 7&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211110_homework|homework of session 6 for session 7 Nov 10]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Nov 10 on Translation Studies==&lt;br /&gt;
&lt;br /&gt;
* ppt 1:  [[Media:The Name and Nature of Translation Studies(ppt).pptx|The Name and Nature of Translation Studies(ppt)]] by Liu Shengnan; handout [[Media: The Name and Nature of Translation Studies.docx| The Name and Nature of Translation Studies]] by Li Yi&lt;br /&gt;
&lt;br /&gt;
* ppt 2:  [[Media:Five Approaches to Translation.pptx|Five Approaches to Translation]] by Li Wenxuan; handout [[Media:Five Approaches to Translation(handout).docx|Five Approaches to Translation()]] by Li Shan&lt;br /&gt;
&lt;br /&gt;
* ppt 3:  [[Media:Principles of Translation(ppt).pptx|Principles of Translation(ppt)]] by Xiao Yiyao; handout [[Media:Principles of Translation.docx|Principles of Translation]] by Wu Yinghong&lt;br /&gt;
&lt;br /&gt;
* ppt 4:  [[Media:Cultural and Ideological Approaches in Translation(ppt).pptx|Cultural and Ideological Approaches in Translation]] by Mahzad Heydarian; handout [[Media:Cultural and Ideological Approaches in Translation.docx| Cultural and Ideological Approaches in Translation ]] by Mahzad Heydarian&lt;br /&gt;
&lt;br /&gt;
* ppt 5:  [[Media:Roman Jacobson's Categories of Translation(ppt).pptx|Roman Jacobson's Categories of Translation(ppt)]] by Xiong Min; handout [[Media: Roman Jacobson's Categories of Translation.docx| Roman Jacobson's Categories of Translation]] by Sun Yashi&lt;br /&gt;
&lt;br /&gt;
* ppt 6:  [[Media:Lin Yutang' s Translation Aesthetics(ppt).pptx|Lin Yutang' s Translation Aesthetics]] by Luo Anyi; handout [[Media:Lin Yutang' s Translation Aesthetics.docx| Lin Yutang' s Translation Aesthetics]] by Shi Liqing&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 8, Nov 17==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 8&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211117_homework|homework of session 6 for session 8, Nov 17]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 8, Nov 17, Translation Theories =&lt;br /&gt;
==Homework for this session Nov 17==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 8&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211117_homework|homework of session 7 for session 8, Nov 17]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Nov 17 on Translation Theories==&lt;br /&gt;
* ppt 1: [[Media:Translation Theories of George Steiner(ppt).pptx|Translation Theories of George Steiner(ppt)]] by Yang Liuqing 杨柳青; handout [[Media: Translation Theories of George Steiner.docx| Translation Theories of George Steiner]] by Yin Huizhen 殷慧珍&lt;br /&gt;
* ppt 2: [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord(ppt).pptx|The Functional Translation Theory of Reiss, Vermeer and Nord(ppt)]] by Peng Ruixue 彭瑞雪; [[Media:The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx|The Functional Translation Theory of Reiss, Vermeer and Nord (handout).docx]] by Qin Jianan 秦建安. &lt;br /&gt;
* ppt 3: [[Media:Translation Theories of Peter Newmark.pptx|Translation Theories of Peter Newmark]] ppt by Liu Xiao 刘晓; [[Media:Translation Theories of Peter Newmark.docx|Translation Theories of Peter Newmark .docx]] handout by Liu Yue 刘越.&lt;br /&gt;
&lt;br /&gt;
* ppt 4:[[Media:Yan Fu's Translation Thoughts(ppt).pptx|Yan Fu's Translation Thoughts(ppt)]] by Wang Lifei 王李菲; handout [[Media: Yan Fu's Translation Thoughts.docx| Yan Fu's Translation Thoughts]] by Wei Chuxuan 魏楚璇&lt;br /&gt;
* ppt 5: [[Media:Translation of Xu Yuanchong.pptx|Translation theorie of Xu Yuanchong]] ppt by Zhouqing周清; [[Media:Translation of Xu Yuanchong.docx|Translation theorie of Xu Yuanchong]]handout by Zou Yueli邹岳丽.&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 9, Nov 24==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 9&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211124_homework|homework of session 8 for session 9, Nov 24]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 9, Nov 24, History of Chinese Translation Theories =&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Nov 24==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 9&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211124_homework|homework of session 8 for session 9, Nov 24]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Nov 24 on Chinese Translation Theories ==&lt;br /&gt;
* ppt 1:  [[Media:The History of Chinese Translation Theories in Qing Dynasty(ppt).pptx|The History of Chinese Translation Theories in Qing Dynasty(ppt)]]ppt by Cheng Yang 程杨 and [[Media: The History of Chinese Translation Theories in Qing Dynasty.docx| The History of Chinese Translation Theories in Qing Dynasty]]handout by Li Shuang 李双. &lt;br /&gt;
* ppt 2: [[Media:The History of Chinese Buddhist Translation Theories(ppt).pptx|The History of Chinese Buddhist Translation Theories(ppt)]] by Qiu Tingting邱婷婷; handout [[Media: The History of Chinese Buddhist Translation Theories.docx| The History of Chinese Buddhist Translation Theories]] by Wei Yiwen 卫怡雯 &lt;br /&gt;
* ppt 3: [[Media:The Chinese Translation Theories During the Period of the May Forth Movement(ppt).pptx|The Chinese Translation Theories During the Period of the May Forth Movement(ppt)]]by Li Wen 李雯; [[Media: The Chinese Translation Theories During the Period of the May Forth Movement.docx|The Chinese Translation Theories During the Period of the May Forth Movement]] handout by Zhou Xiaoxue 周小雪&lt;br /&gt;
* ppt 4: [[Media: The History of Chinese Translation Theories from 1949 to Present(ppt).pptx|The History of Chinese Translation Theories from 1949 to Present(ppt)]]by Yang Aijiang 杨爱江 [[Media: The History of Chinese Translation Theories from 1949 to Present.docx|The History of Chinese Translation Theories from 1949 to Present]] handout by Yang Kun 杨堃&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 10, Dec 1==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 10&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211201_homework|homework of session 9 for session 10, Dec 1]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 10, Dec 1, Appropriateness Theory=&lt;br /&gt;
This is a new theory suggested by M. Woesler in 2020. Everybody is invited to help to develop this theory or to criticize other theories and suggesting what a new theory (like the appropriateness theory) needs to do better.&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Dec 1==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 10&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211201_homework|homework of session 9 for session 10, Dec 1]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 1==&lt;br /&gt;
* handout 1: [[Media: Appropriateness Theory.docx| Appropriateness Theory]] by Ei Mon Kyaw 艾梦觉 &lt;br /&gt;
* ppt 1: [[Media:Appropriateness Theory(ppt).pptx|Appropriateness Theory(ppt)]] by Yin Meida殷美达;&lt;br /&gt;
*Teacher presentation [[Media:10_Translation_Studies_Discipline.pptx|10_Translation_Studies_Discipline.pptx]]&lt;br /&gt;
*Teacher presentation [[Media:Appropriateness_Theory_Teacher_Presentation.pptx|Appropriateness_Theory_Teacher_Presentation.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 11, Dec 8==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 11&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211208_homework|homework of session 10 for session 11, Dec 8]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 11, Dec 8, Methods and Style=&lt;br /&gt;
==Homework for this session Dec 8==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 11&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211208_homework|homework of session 10 for session 11, Dec 8]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 8 on Methods and Style==&lt;br /&gt;
* ppt 1: [[Media:The Literal Translation and Free Translation(ppt).pptx|The Literal Translation and Free Translation(ppt)]] by Zhong Yifei钟义菲; handout [[Media: The Literal Translation and Free Translation.docx| The Literal Translation and Free Translation]] by Zhong Yulu钟雨露.&lt;br /&gt;
* ppt 1: [[Media:The Amplification and Omission in Translation(ppt).pptx|The Amplification and Omission in Translation(ppt)]] by Zhou Jiu周玖; handout [[Media: The Amplification and Omission in Translation.docx| The Amplification and Omission in Translation]] by Zhou Junhui周俊辉.&lt;br /&gt;
* ppt 3: [[Media:Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example(ppt).pptx|Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example(ppt)]] by Li Aixuan李爱璇；handout [[Media:Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example.docx|Zhu Shenghao's Translation Style Take the Translation of Shakespeare's Plays for Example]] by Jing Xiaotong金晓童.&lt;br /&gt;
* ppt 4: [[File:Translation Methods of Idioms.pptx|Translation Methods of Idioms(ppt)]] by Liu Yunxin 刘运心; handout [[File:Translation Methods of Idioms.docx|Translation Methods of Idioms(handout)]] by Li Ruiyang 李瑞洋&lt;br /&gt;
* ppt 5: [[Media:11_Chen_Jing_Domestication_and_Foreignization.pptx|Domestication and Foreignization(pptx)]] by Chen Jing 陈静; handout [[File:Domestication and Foreignization.docx|Domestication and Foreignization(handout)]] by Chen Xinyi 陈心怡&lt;br /&gt;
*Teacher presentation [[Media:11_Translation_Studies_Discipline.pptx|11_Translation_Studies_Discipline.pptx]]&lt;br /&gt;
&lt;br /&gt;
[[File:Translation Methods of Idioms.pptx]]&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 12, Dec 15==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 12&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211215_homework|homework of session 11 for session 12, Dec 15]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 12, Dec 15, Theory and Practice.=&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Dec 15==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 12&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211215_homework|homework of session 11 for session 12, Dec 15]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 15 on Theory and Practice==&lt;br /&gt;
(Catford Translation Shift Theory and Its Practice) ppt by 周巧 and handout by 朱素珍.（The value and limits of Nida’s Functional Equivalence Theory in its Application of Literature）handout by 罗曦 202120081512；PPT by 詹若萱 202120081549  （Ezra Pound's translation theory and its application in Cathay）handout by 张秋怡 202120081550；PPT by 王逸凡 202120081524&lt;br /&gt;
* ppt 1: [[Media:Catford Translation Shift Theory and Tts Practice(ppt).pptx|Catford Translation Shift Theory and Its Practice(ppt)]] by Zhou Qiao 周巧; handout [[Media:.docx| Catford Translation Shift Theory and Its Practice|Catford Translation Shift Theory and Its Practice ]] by Zhu Suzhen 朱素珍.&lt;br /&gt;
&lt;br /&gt;
* ppt 3：[[Media:Ezra Pound's translation theory and its application in Cathay(ppt).pptx|Ezra Pound's translation theory and its application in Cathay(ppt)]] by Wang Yifan 王逸凡; handout [[Media:Ezra Pound's translation theory and its application in Cathay.docx|Ezra Pound's translation theory and its application in Cathay]] by Zhang Qiuyi 张秋怡.&lt;br /&gt;
&lt;br /&gt;
* ppt 5：[[Media:Skopos Theory and its application by Jawad and Liu Peiting.pptx|Skopos Theory and its application by Jawad and Liu Peiting]] by Jawad Ahmad; handout [[Media:Skopos Theory and Its Application.docx|Skopos Theory and Its Application]] by Liu Peiting 刘沛婷.&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 13, Dec 22==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 13&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211222_homework|homework of session 12 for session 13, Dec 22]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 13, Dec 22, Decriptive Studies, Culture, Invisibility, Constructivism=&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Dec 22==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 13&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211222_homework|homework of session 12 for session 13, Dec 22]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 22 on Decriptive Studies, Culture, Invisibility, Constructivism==&lt;br /&gt;
&lt;br /&gt;
* ppt 1:  [[Media:Gideon Toury's Descriptive Translation Studies(ppt).pptx|Gideon Toury's Descriptive Translation Studies(ppt)]]ppt by Benjamin Wellsand&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 14, Dec 29==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 14&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211229_homework|homework of session 13 for session 14, Dec 29]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 14, Dec 29, East-West Comparison=&lt;br /&gt;
&lt;br /&gt;
==Homework for this session Dec 29==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 14&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20211229_homework|homework of session 13 for session 14, Dec 29]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
==Presentations Dec 29 on East-West Comparison==&lt;br /&gt;
&lt;br /&gt;
ppt 1: A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy ppt by Mao You 毛优; [[Media: A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy(Handout).docx|A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy(Handout).docx]] handout by Mao Yawen 毛雅文.&lt;br /&gt;
&lt;br /&gt;
ppt 2: A Comparative Study on the Differences between Chinese and Western Contemporary Cultural Translation——Taking the Translation Concepts of Liu Miqing(刘宓庆) and Susan Bassnett as an Example.                                              [[File:A Comparative Study on the Differences between Chinese and Western Contemporary Cultural Translation.pptx]] by Wei Zhaoyan魏兆妍；[[File:A Comparative Study on the Differences between Chinese and Western Contemporary Cultural Translation(handout).docx]] by Wu Jingyue吴婧悦&lt;br /&gt;
&lt;br /&gt;
==Homework for next session 15, Jan 5==&lt;br /&gt;
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]]  for Session 15&lt;br /&gt;
&lt;br /&gt;
2. Translate your passage on the homework page.&lt;br /&gt;
&lt;br /&gt;
*[[20210105_homework|homework of session 14 for session 15, Jan 5]]&lt;br /&gt;
&lt;br /&gt;
3. Correct your fellow student's translation on the homework page.&lt;br /&gt;
&lt;br /&gt;
4. (Only for students who do presentation on Jan 5:) Prepare ppt or handout.&lt;br /&gt;
&lt;br /&gt;
=Session 15, Jan 5, Review in Preparation of final exam=&lt;br /&gt;
&lt;br /&gt;
=Session 16, Jan 12, Final Exam=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=Samples from last year: 人类起源 The emergence of translation and interpretation=&lt;br /&gt;
 Please note: All the sessions (2-16) here are copies of the 2020 course. &lt;br /&gt;
&lt;br /&gt;
 You can have a look how the fellow students did it last year, &lt;br /&gt;
&lt;br /&gt;
 but you have to write everything new here for 2021.&lt;br /&gt;
&lt;br /&gt;
*Teacher presentation&lt;br /&gt;
&lt;br /&gt;
*Student presentations&lt;br /&gt;
&lt;br /&gt;
OLD (2020):&lt;br /&gt;
&lt;br /&gt;
*Handout for download [[Media:The_emergence_of_translation_and_interpretation.docx|Global Emergence of Interpretation and Translation]] by 彭锐宏&lt;br /&gt;
*Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===&lt;br /&gt;
*Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼&lt;br /&gt;
*Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou  by 聂晓楼&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===&lt;br /&gt;
*Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅&lt;br /&gt;
*Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===&lt;br /&gt;
*Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying&lt;br /&gt;
*Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===&lt;br /&gt;
1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].&lt;br /&gt;
&lt;br /&gt;
==3rd Session: History==&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===&lt;br /&gt;
*Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 2:  中国翻译史代表人物The Representatives in Chinese Translation History===&lt;br /&gt;
*Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===&lt;br /&gt;
*Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX&lt;br /&gt;
*Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===&lt;br /&gt;
*Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星&lt;br /&gt;
&lt;br /&gt;
==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201005_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].&lt;br /&gt;
&lt;br /&gt;
==Session 4: Development==&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 1: 西方翻译史 Western translation history===&lt;br /&gt;
*Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===&lt;br /&gt;
*Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===&lt;br /&gt;
*Handout for download: [[Media:...docx|History of Western Translation Theory]]  by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX&lt;br /&gt;
* Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]]  by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===&lt;br /&gt;
*Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===&lt;br /&gt;
*Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===&lt;br /&gt;
*Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===&lt;br /&gt;
*Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===&lt;br /&gt;
*Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate a short passage of a paper on the Chinese essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201012_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].&lt;br /&gt;
&lt;br /&gt;
3. Take part in an online survey. The survey is currently prepared by the fellow students.&lt;br /&gt;
&lt;br /&gt;
==Session 5: ==&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===&lt;br /&gt;
*Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining&lt;br /&gt;
*Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===&lt;br /&gt;
*Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
[[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===&lt;br /&gt;
*Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen&lt;br /&gt;
*Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi&lt;br /&gt;
&lt;br /&gt;
Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===&lt;br /&gt;
*Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===&lt;br /&gt;
*Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===&lt;br /&gt;
*Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 6: Early Theories==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201019_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 1: 巴斯奈特文化翻译观  The Cultural Translation Theory of Bassnett===&lt;br /&gt;
 &lt;br /&gt;
Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:  [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 2: 中国早期代表性佛经翻译理论  Early Representative Theories of Buddhist Scriptures Translation in China===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式  The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》  A Linguistic Theory of Translation of J.C.Catford===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===&lt;br /&gt;
Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|Qi Kai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 6: 系统翻译理论的早期尝试  Early Attempts at Systematic Translation Theory===&lt;br /&gt;
 &lt;br /&gt;
Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:  [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 7: Western theories==.   周巧 presentation  PowerPoint    朱素珍 handout    Cat ford Translation Shift Theory&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201026_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 2: 多元系统理论 Polysystem Theory===&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 4： 布拉格学派 Prague School===&lt;br /&gt;
&lt;br /&gt;
Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 5： 目的论 Skopos Theory===&lt;br /&gt;
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Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan&lt;br /&gt;
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Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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===Session 7, Topic 6： 语言学派 Linguistic School===&lt;br /&gt;
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Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 8: Methods==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201102_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 1： 正说反译与反说正译 Negation===&lt;br /&gt;
Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===&lt;br /&gt;
Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===&lt;br /&gt;
Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)&lt;br /&gt;
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===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===&lt;br /&gt;
Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)&lt;br /&gt;
Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)&lt;br /&gt;
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===Session 8, Topic 5： 增译与减译 Amplification and Omission===&lt;br /&gt;
Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)&lt;br /&gt;
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Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===&lt;br /&gt;
Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)&lt;br /&gt;
Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 9: Style==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201116_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===&lt;br /&gt;
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Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)&lt;br /&gt;
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===Session 9, Topic2 : 科技翻译 Scientific Style===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)&lt;br /&gt;
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===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===&lt;br /&gt;
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Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)&lt;br /&gt;
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===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===&lt;br /&gt;
Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)&lt;br /&gt;
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===Session 9,Topic 5: 翻译与风格 Translation and Style= ==&lt;br /&gt;
Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu&lt;br /&gt;
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[[Media:Example.ogg]]&lt;br /&gt;
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==Session 10: Translation Studies==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201123_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 10,Topic 1: 翻译转换 Translation Shifts===&lt;br /&gt;
Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)&lt;br /&gt;
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Classroom handout for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)&lt;br /&gt;
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===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===&lt;br /&gt;
Classroom presentation for download:[[Media:Decoding and Recoding.pptx]]--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:33, 23 November 2020 (UTC)&lt;br /&gt;
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Classroom handout for download:[[Media:Decoding and Recoding.docx]]--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 04:32, 23 November 2020 (UTC)&lt;br /&gt;
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===Session 10,Topic 3: 视听翻译 Audiovisual Translation===&lt;br /&gt;
Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC) - READ BY NIE XIAOLOU&lt;br /&gt;
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Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)&lt;br /&gt;
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===Session 10,Topic 4: 对钱钟书“化境说”的理论研究 The Translation Studies of Qian Zhongshu’s Theory of Huajing===&lt;br /&gt;
[[Media:Handout-The Translation Studies of Qian Zhongshu’s theory of Huajing.docx]]--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 05:38, 23 November 2020 (UTC)&lt;br /&gt;
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[[Media:The Translation Studies of Qian Zhongshu’s theory of Huajing.pptx]]--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 05:40, 23 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 10, Topic 5: 英汉被动语态对比研究及其翻译策略 Contrastive Studies of Passive Voice(C&amp;amp;E) and its Translation Strategies===&lt;br /&gt;
Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&amp;amp;E) and its Translation Strategies.pptx]]  --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)&lt;br /&gt;
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Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&amp;amp;E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)&lt;br /&gt;
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===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====&lt;br /&gt;
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Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Untranslatability &amp;amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 11: Theory and Practice==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201130_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201130_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 11,Topic 1: 功能对等理论对商标翻译的影响 The Effect of the Equivalence Theory on Trademark Translation===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download:[[Media:Handout.The Theory and Practice.docx]]--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 07:38, 30 November 2020 (UTC)Pengjuan&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:The Effect of the Equivalence Theory on Trademark Translation.pptx]]--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 08:08, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download：[[Media:Handout.The Practice of Foreignization and Domestication.docx]]--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 01:21, 30 November 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Translation practice in domestication and foreignization.pptx]]--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:00, 29 November 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download：[[Media:Skopos Theory and its Applications.docx]]--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:08, 30 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download：[[Media:Skopos Theory and its Applications.pptx]]--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 05:16, 30 November 2020 (UTC)&lt;br /&gt;
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===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation=== &lt;br /&gt;
&lt;br /&gt;
Classroom handout for download:[[Media:The Semantic Translation and Communicative Translation.docx]]--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 16:30, 29 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:The Semantic Translation and Communicative Translation.ppt]]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 06:56, 30 November 2020 (UTC)&lt;br /&gt;
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===Session 11,Topic 5: 奈达的功能对等理论及其在科技文英译汉中的应用 Nida's Functional Equivalence Theory and its Application in E-C Translation of EST===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download：[[Media:Nida’s_Functional_Equivalence_Theory_and_its_Application_in E-C_Translation_of_EST.docx]]--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:03, 30 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory and its Application in E-C Translation of EST.pptx]]--[[User:Zhou Yuanqu|Zhou Yuanqu]]--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:25, 30 November 2020 (UTC)&lt;br /&gt;
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===Session 11,Topic 6:女性主义翻译 The Feminist Translation===&lt;br /&gt;
 &lt;br /&gt;
Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation：[[Media:Feminist Translation.pptx]]&lt;br /&gt;
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==Session 12: Different Aspects==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201207_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201207_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 12, Topic 1: 政论文翻译 Translation of Political Text===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:Translation of Political Text.docx]]--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:21, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:Translation of Political Text.pptx]] By Chen Jiaxin  --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 12:30, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 12, Topic 2: 诗歌翻译 Poem Translation===&lt;br /&gt;
Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)&lt;br /&gt;
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&lt;br /&gt;
[[Media:Poem_Translation_handout.docx]] by Zhang Yujie&amp;amp; Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 12, Topic 3: 旅游翻译 Tourism Translation===&lt;br /&gt;
Classroom handout for download:[[Media:Tourism Translation.pptx]]           by Tan Xinjie &amp;amp; Wei Yafei          --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei          &lt;br /&gt;
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[[Media:Tourism_Translation_handout.docx]] by Tan Xinjie &amp;amp; Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei&lt;br /&gt;
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==Session 13: East West comparison==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201214_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201214_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Topic 1:严复和泰特勒翻译标准之对比 A Comparison between Yan Fu's and Tytler's Translation Criteria===&lt;br /&gt;
[[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.pptx]]--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:15, 14 December 2020 (UTC)Tang Ming&lt;br /&gt;
[[Media:A Comparison Between Yan Fu’s and Tytler’s Translation Criteria.docx]]--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 06:52, 14 December 2020 (UTC)Ou Rong&lt;br /&gt;
&lt;br /&gt;
===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===&lt;br /&gt;
&lt;br /&gt;
[[Media:Comparison of the Development of Chinese and Western Translation.pptx]] by Liu Yi.--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 15:38, 6 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
[[Media:Comparison of the Development of Chinese and Western Translation.doc]] by Tan Yuanyuan.--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 15:47, 6 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===&lt;br /&gt;
[[Media:Handout-The Influence of Chinese and Western Cultural Differences on Translation.doc]] by Yang Yue--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:10, 10 December 2020 (UTC)&lt;br /&gt;
[[Media:The Influence of Chinese and Western Cultural Differences on Translation.pptx]] by Yi Zichu--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 05:01, 10 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Topic 4:中国佛经翻译与圣经翻译的比较Comparison Between the translation of Buddhist scriptures of China and Bible translation===&lt;br /&gt;
[[Media:The Comparison of the Chinese translation of Buddhist Scriptures and Bible translation.pptx]]by Xiao Ting--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 00:54, 13 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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[[Media:The Comparison of the Chinese Translation of Buddhist Scriptures and Bible Translation.docx]]--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:07, 13 December 2020 (UTC)Xu Jia&lt;br /&gt;
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===Topic 5:20世纪中叶以来中西翻译理论对比 Comparison of Chinese and Western translation theories since the mid-term of the 20th century===&lt;br /&gt;
&lt;br /&gt;
[[Media:Comparison of Chinese and Western translation theories since the mid-term of the 20th century by Mo Ling.pptx]]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:38, 11 December 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
[[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]&lt;br /&gt;
&lt;br /&gt;
===Topic 6；中西思维方式差异在翻译中的体现——以习语为例 The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.docx]]--[[User:Chen Sha|Chen Sha]] --[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 14:43, 5 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:The Embodiment of the Differences between Chinese and Western Thinking Modes in Translation -- Taking Idioms as an Example.pptx]] By Chen Jiangning  --[[User:Chen Sha|Chen Jiangning]]--[[User:Chen Sha|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 14:43, 5 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 14: Strategies==&lt;br /&gt;
===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201221_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201221_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:The Era of Arab Conquest and Translatology.docx]]  Ma Zhixing＆Wu kai  --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:The Era of Arab Conquest and Translatology.ppt]]   Ma Zhixing＆Wu kai  --[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:17, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Topic 2；韦努蒂的抵抗式翻译策略 Resistancy Translation Strategy—Lawrence Venuti===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.docx]]  Tang Yiran&amp;amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.ppt]]   Tang Yiran&amp;amp;Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Topic 3；英日译本对照--以《雪国》为例The Contrast of Japanese-English Translation--Taking &amp;quot;Snow Country&amp;quot; as an Example===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:The Contrast of Differences in  Japanese-English Xie Ziyi&amp;amp; Peng  Yongliang.docx]]  &lt;br /&gt;
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:The Contrast of Differences in  Japanese-English Xie Ziyi&amp;amp; Peng  Yongliang.pptx]]   &lt;br /&gt;
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 15: Contemporary Translation Theories==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 14 (Dec 21, 2020), for Session 15 due on (Dec 28, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201228_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201228_trans|here]].&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Topic 1 Contemporary Translation Theories ===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download: [[Media:Contemporary Translation Theories.docx]]  &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:Contemporary Translation Theories.pptx]]   &lt;br /&gt;
--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:07, 27 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 16: Final Discussion==&lt;br /&gt;
&lt;br /&gt;
==List of topics for presentations and handouts in class==&lt;br /&gt;
1 Emergence: &lt;br /&gt;
孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源&lt;br /&gt;
&lt;br /&gt;
2 History: &lt;br /&gt;
周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史&lt;br /&gt;
 &lt;br /&gt;
3 Development: &lt;br /&gt;
韩宛真 邓锦霞: 机器翻译的发展;  蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展&lt;br /&gt;
&lt;br /&gt;
4 Early Literary Examples: &lt;br /&gt;
许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟&lt;br /&gt;
&lt;br /&gt;
5 Early Theories: &lt;br /&gt;
徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试&lt;br /&gt;
&lt;br /&gt;
6 (Western) Theories: &lt;br /&gt;
康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派&lt;br /&gt;
&lt;br /&gt;
7 Methods: &lt;br /&gt;
甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦&lt;br /&gt;
&lt;br /&gt;
8 Style: &lt;br /&gt;
孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳&lt;br /&gt;
&lt;br /&gt;
9 Translation Studies: &lt;br /&gt;
罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略&lt;br /&gt;
&lt;br /&gt;
10 Theory and Practice: &lt;br /&gt;
彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓  王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅;  阳慧 张佩闻; &lt;br /&gt;
&lt;br /&gt;
11 Different Aspects: &lt;br /&gt;
周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; &lt;br /&gt;
&lt;br /&gt;
12 East West Comparison: &lt;br /&gt;
唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳：中国佛经翻译和圣经翻译的比较;  莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异在翻译中的体现--以习语为例。&lt;br /&gt;
&lt;br /&gt;
13 Strategies: &lt;br /&gt;
吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠&lt;br /&gt;
&lt;br /&gt;
14 Contemporary translation Theories: &lt;br /&gt;
Sagara Seydo Nguyen, Thuy Hien (Helen)&lt;br /&gt;
&lt;br /&gt;
==List of Topics for final exam papers in Translation Studies==&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
Ideas&lt;br /&gt;
*literal vs. free&lt;br /&gt;
*Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization&lt;br /&gt;
*unit of translation&lt;br /&gt;
*contrastive analysis&lt;br /&gt;
*the equivalence problem (functional, dynamic)&lt;br /&gt;
*translatability vs untranslatability &lt;br /&gt;
*SLT vs TLT relation&lt;br /&gt;
*translation types, strategies, styles, methods&lt;br /&gt;
*communication factors, translator role in social setting&lt;br /&gt;
*cognitive factors&lt;br /&gt;
*machine translation&lt;br /&gt;
*translation quality assessment&lt;br /&gt;
*translation ethics / manipulation etc.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggested topics for final exam papers (chapters of book on translation studies)&lt;br /&gt;
&lt;br /&gt;
Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.&lt;br /&gt;
&lt;br /&gt;
Here is the link to the list: [[Topics in Translation Studies]]&lt;br /&gt;
&lt;br /&gt;
=Final Exam Papers=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;The deadline has been extended to '''Dec 21, 2020'''. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until Dec 19. The author then finalizes (works in the suggestions) until the final deadline Dec 21!&amp;lt;/span&amp;gt;&lt;br /&gt;
==Structure==&lt;br /&gt;
需要有topic、学生姓名、学号、专业、Abstract、Key words、题目、摘要、关键词、不同的章回（比如1. Introduction、2. Nida’s Theory、3. ……、4.……、5. Conclusion、References)、然后还需要每个阶段以后有来源。一个阶段不要超过100英文词。每个章回会有几个阶段没问题。每个阶段以后需要一个同学的这个阶段的修改。&lt;br /&gt;
&lt;br /&gt;
==Tips for writing your final exam paper: How to indicate your references==&lt;br /&gt;
*You can use the existing book chapters here as an example.&lt;br /&gt;
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called &amp;quot;References&amp;quot;. There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Do '''not''' write any references like in one of the sample chapters:&lt;br /&gt;
&lt;br /&gt;
[1] dsalkfkdsa&lt;br /&gt;
&lt;br /&gt;
[2] adsfadsfag&lt;br /&gt;
&lt;br /&gt;
But only the following way:&lt;br /&gt;
&lt;br /&gt;
(Liu Miqing 2010, 17) in the text&lt;br /&gt;
&lt;br /&gt;
and then&lt;br /&gt;
&lt;br /&gt;
'''References'''&lt;br /&gt;
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.&lt;br /&gt;
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.&lt;br /&gt;
&lt;br /&gt;
Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):&lt;br /&gt;
 = = Topic = =&lt;br /&gt;
 &amp;lt; c e n t e r &amp;gt; Student Name, Student no. &amp;lt; / c e n t e r &amp;gt;&lt;br /&gt;
 = = = Abstract = = =&lt;br /&gt;
 This chapter is on ....&lt;br /&gt;
 = = = Key Words = = =&lt;br /&gt;
 Egg, Hen&lt;br /&gt;
 = = = 题目 = = =&lt;br /&gt;
 = = = 摘要 = = =&lt;br /&gt;
 = = = 关键词 = = =&lt;br /&gt;
 = = = Introduction = = =&lt;br /&gt;
 Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.&lt;br /&gt;
 = = = The Egg = = =&lt;br /&gt;
 Bla, bla, bla&lt;br /&gt;
 = = = The Hen = = =&lt;br /&gt;
 Bla, bla, bla&lt;br /&gt;
 = = = Conclusion = = =&lt;br /&gt;
 Bla, bla, bla&lt;br /&gt;
 = = = References = = =&lt;br /&gt;
 Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT&lt;br /&gt;
&lt;br /&gt;
==Sample papers==&lt;br /&gt;
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with &amp;quot;Sample paper&amp;quot;.&lt;br /&gt;
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories&lt;br /&gt;
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications&lt;br /&gt;
* Comparative Study on Functional Equivalence Theory and Skopos Theroy&lt;br /&gt;
* Comparison of Derrida’s and Benjamin’s Translation View&lt;br /&gt;
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish&lt;br /&gt;
* On the Comparison between &amp;quot;Sublimation&amp;quot; an &amp;quot;Functonal Equivalence&amp;quot; Theories&lt;br /&gt;
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics&lt;br /&gt;
* The Translation of Culture-loaded Words in Chinese-English Communication&lt;br /&gt;
* Translators' Views on Translation Influence Their Translation Behavior&lt;br /&gt;
&lt;br /&gt;
==Website to write your final exam paper on==&lt;br /&gt;
[[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
As a reference, here is the information about last year's final exam papers:&lt;br /&gt;
&lt;br /&gt;
The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).&lt;br /&gt;
&lt;br /&gt;
Here you can write your Final Exam Papers:&lt;br /&gt;
&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_3 Part 3, students: 蒋凤仪 Jiang Fengyi， 雷旷溪 Lei Kuangxi, 郑华君 Zheng Huajun, 文晓艺 Wen Xiaoyi, 陶冶 Tao Ye, 孔亚楠 Kong Yanan, 陈江宁 Chen Jiangning]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_4 Part 4, students: 杨海容 Yang Hairong，游雨婷 You Yuting，王源 Wang Yuan，徐佳 Xu Jia，凌子瑾 Ling Zijin，石迪文 Shi Diwen，张玲 Zhang Ling，曾心媛 Zeng Xinyuan，姚诚 Yao Cheng，朱旭 Zhu Xu，许鹏飞 Xu Pengfei，赵晓燕 Zhao Xiaoyan，张琪 Zhang Qi，周园曲 Zhou Yuanqu]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_5 Part 5, students: 李玉 Li Yu，林敏 Lin Min，文偲荇 Wen Sixing， 周诗卿 Zhou Shiqing，朱素瑶 Zhu Suyao，胡百辉 Hu Baihui，马智星 Ma Zhixing, 胡瑾 Hu Jin，张毓婕 Zhang Yujie，顾东方 Gu Dongfang，高明珠 Gao Mingzhu，张虎 Zhang Hu，李璐伊 Li Luyi，袁诗琦 Yuan Shiqi，王美玲 Wang Meiling，康浩宇 Kang Haoyu，王轩 Wang Xuan，陈永相 Chen Yongxiang，莫玲 Mo Ling，袁天翼 Yuan Tianyi]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_6 Part 6, students:汤蓓 Tang Bei欧蓉 Ou Rong，谭星越 Tan Xingyue，周罗平 Zhou Luoping，龚钰冕 Gong Yumian，邹鑫雨 Zou Xinyu， 陈惠 Chen Hui，罗雨晴 Luo Yuqing，谭鑫洁 Tan Xinjie]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_7 Part 7, students:曾雁湖 Zeng Yanhu，邓锦霞 Deng Jinxia，姜好 Jiang Hao，管钦清 Guan Qinqing，唐铭 Tang Ming，娄灿灿 Lou Cancan，丁代凤 Ding Daifeng，苏琳 Su Lin，徐佳 Xu Jia， 刘艺 Liu Yi，李凌月 Li Lingyue，马娟 Ma Juan，吴琪 Wu Qi，姚佳 Yao Jia，李海泉 Li Haiquan，吴琼 Wu Qiong，杨子泠 Yang Ziling，林敏 Lin Min，彭锐宏 Peng Ruihong ，汤伊然 Tang Yiran，阳慧 Yang Hui，刘智伟 Liu Zhiwei]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_8 Part 8, students: 王煜 Wang Yu，方洁玲 Fang Jieling，许静 Xu Jing，周书尧 Zhou Shuyao，彭永亮 Peng Yongliang，宋建茹 Song Jianru，韦洪朗 Wei Honglang，魏亚菲 Wei Yafei，张雪仪 Zhang Xueyi，甘奉玉 Gan Fengyu，赵茜 Zhao Xi，吴恺 Wu Kai，周艺文 Zhou Yiwen，张维虹 Zhang Weihong，司妤 Si Yu]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_9 Part 9, students: 易欢 Yi Huan，曾良 Zeng Liang，义子楚 Yi Zichu，欧阳玲 Ouyang Ling，石海瑶 Shi Haiyao，胡慧芳 Hu Huifang，吴一露 Wu Yilu，纪甜甜 Ji Tiantian, 桂一枝 Gui Yizhi，刘欧 Liu Ou，祝美梅 Zhu Meimei，谭媛媛 Tan Yuanyuan，张银柳 Zhang Yinliu，李泳珊 Li Yongshan，聂晓楼 Nie Xiaolou]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_10 Part 10, students:陈静静 Chen Jingjing， Thuy Hien Nguyen Thuy Hien，肖茜 Xiao Xi，余妮 Yu Ni，韩宛真 Han Wanzhen，陈佳欣 Chen Jiaxin，成于思 Cheng Yusi，方洁玲 Fang Jieling，张慧 Zhang Hui，吴子佳 Wu Zijia，孔祥慧 Kong Xianghui，许晶 Xu Jing，周玉娟 Zhou Yujuan，曹润鑫 Cao Runxin，肖伊宁 Xiao Yining, Sagara Seydou，欧阳静兰 Ouyang Jinglan]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_11 Part 11, students:李丽琴 Li Liqin, 张瑜 Zhang Yu, 刘怡瑜 Liu Yiyu, 李梦 Li Meng, 林鑫 Lin Xin, 罗维嘉 Luo Weijia, 漆凯 Qi Kai, 郭露 Guo Lu，张宇星 Zhang Yuxing, 陈涵 Chen Han,  李丽丽 Li Lili, 刘柳 Liu Liu, 陈莎 Chen Sha, 徐梦蝶 Xu Mengdie,彭丹 Peng Dan， 谢子熠 Xie Ziyi，莫南 Mo Nan]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_12 Part 12, students: 全美欣 Quan Meixin，何长琦 He Changqi，刘博 Liu Bo，刘金惺琦 liu Jinxingqi，谌孙福 Chen Sunfu，曾芳缘 Zeng Fangyuan，肖婷 Xiao Ting，常慧月 Chang Huiyue，彭娟 Peng Juan，彭小玲 Peng Xiaoling，杨悦 Yang Yue，肖双玲 Xiao Shuangling，彭育志 Peng Yuzhi，孟莹 Meng Ying]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_13 Part 13, students: 杨晨婷 Yang Chenting, 康灵凤 Kang Lingfeng，杨逸 Yang Yi, 马淑雅 Ma Shuya, 雷方圆 Lei Fangyuan, 张佩闻 Zhang Peiwen]&lt;br /&gt;
*[https://bou.de/u/wiki/History_of_Translation_Studies_14 Part 14, students:周思庆 Zhou Siqing，蒋淇玮 Jiang Qiwei，瞿淼 Qu Miao，韩海洋 Han Haiyang，刘金惺琦 liu jinxingqi，解帆 Xie Fan，刘洋诺 Liu Yangnuo，袁雨晨 Yuan Yuchen，邬香 Wu Xiang]&lt;br /&gt;
&lt;br /&gt;
=Benefits=&lt;br /&gt;
This course is registered as a &amp;quot;EU Expert&amp;quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.&lt;br /&gt;
&lt;br /&gt;
=Misplaced things=&lt;br /&gt;
Handout 4 of Ren Xin --&lt;br /&gt;
贺骥.“世界文学”概念:维兰德首创：&lt;br /&gt;
Summary： 主要讲述了人们发现维兰德首次提出“世界文学”的过程，维兰德对“世界文学”的概念以及与歌德的比较。&lt;br /&gt;
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一、为何说维兰德首创“世界文学”？&lt;br /&gt;
1987 年，德国学者魏茨( Hans-Joachim Weitz，1904—2001) 在《阿卡迪亚》杂志上发表了一篇题为《维兰德是“世界文学”一词的首创者》的短文。魏茨声称他发现了德国作家维兰德( Christoph Martin Wieland，1733—1813) 在1790 至1813 年间亲笔书写的一则手记中首次提到“世界文学”。但维兰德于1813 年1 月20 日去世，他的同时代人并不知道他写有这则手记，歌德在不知情的情况下从1827 年1 月15 日起多次使用了“世界文学”这个词。维兰德与歌德对于“世界文学”的概念相近，但他没有详细论证。所以说，“世界文学”一次是维兰德首创，歌德第一次明确提出的&lt;br /&gt;
二、维兰德“世界文学”的概念与歌德的比较&lt;br /&gt;
1. 维兰德在创作早期作品时：世界文学就是世界各民族的文学名作的总集。该观点体现在《民族文学》文学是世界各民族的共同精神财富，世界文学就是所有时代所有民族的典范作品总集。&lt;br /&gt;
2. 和歌德一样，维兰德的世界文学概念带有言必称希腊的欧洲中心主义色彩，他的世界文学乃是以古希腊罗马文学为正典、以欧洲文学为核心的世界各民族文学经典的总集。“阅读最优秀的作家的杰作”乃是维兰德“世界文学”概念的核心: 杰作即古往今来世界各民族的文学经典。&lt;br /&gt;
3. 维兰德认为优秀作品的形成过程: 首先作家必须以阅世高人的文化修养和娴熟的艺术技巧创造有审美价值的“文学杰作”；其次是后世“最优秀的人们”对这些杰作的“宣扬”和“奉为样板”。&lt;br /&gt;
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三、“世界文学”概念有三种定义: &lt;br /&gt;
( 1) 广义的“世界文学”指的是所有民族和所有时代文学作品的总和( Gesamtliteratur) ; &lt;br /&gt;
( 2) 狭义的“世界文学”指的是超时代的、具有普遍审美价值的世界各民族文学的典范作品总集( Kanon) ，换言之，“世界文学”就是具有世界声誉的文学杰作的荟萃，这种精英主义意义上的“世界文学”概念在当今学界占据了主导地位; &lt;br /&gt;
( 3) 歌德于1827 年提出的文学发展蓝图，它指的是国际性的文学交往( Kommunikation der Literatur) 和文化接触，交往的结果就是具有特性的各民族文学的融合。&lt;br /&gt;
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Reference: &lt;br /&gt;
贺骥.“世界文学”概念:维兰德首创[J].社会科学,2014(07):176-182.    --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:24, 13 April 2018 (UTC)&lt;br /&gt;
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[1]文飙.阿拉伯民间文学的珍品《一千零一夜》.&lt;br /&gt;
1.流传情况： &lt;br /&gt;
《一千零一夜》早在公元六世纪左右已在波斯、伊拉克和埃及产生并流传着。公元十世纪阿拨斯王朝统治时代汇集成书,后又经过数百年不断搜集、整理、加工和修改；大约到十六世纪才形成比较完整的总集。&lt;br /&gt;
2.故事发生的地点：多在当时阿拉伯世界两大中心城市— 巴格达及开罗。&lt;br /&gt;
3.《一千零一夜》，中文另一译名为《天方夜谭( 谈) 》的原因：&lt;br /&gt;
这个译名的来源说明中世纪时期阿拉伯帝国与中国的关系。阿拉伯半岛的麦加城在帝国中称为“ 圣城”, 城内有古庙名“ 天房”, 中国古嫂都译为“ 天方”, 实即“ 天房”之误。我国明朝以前称阿拉伯为黑衣大食国，明朝以后则称为“ 天方国”, 这就是旧译本称为《天方夜谭》的原因。&lt;br /&gt;
4.故事内容： 《一千零一夜》是一部包罗万象的民间故事集, 有格言、谚语、童话, 王子公主的恋爱故事, 及市民冒险故事。这些故事的主角从底层的劳苦大众到最高的统治者哈里发。能够比较全面而深刻地反映中世纪东方的社会生活。&lt;br /&gt;
5.《一千零一夜》的起源：&lt;br /&gt;
在古代印度和中国为海岛中,有一个萨桑国。残暴的国王山鲁亚尔每夜娶一王后,翌晨即杀掉再娶。老百姓受此威胁,十分恐怖,纷纷携儿带女逃走,致使城中十室九空。然而国王仍照例命令宰相寻找女子供他虐杀。一天，宰相找遍民间，没找到一个,便满怀恐惧、忧郁地转回府邸来。宰相的大女儿山鲁佐德见父亲情状,问明情由,执意让父亲把她嫁给国王,宰相不得已才把女儿送进宫去。山鲁佐德一见国王,就悲伤地哭泣起来，她希望国王允许她在死之前能和妹妹再见一面,国王同意了,派人到宰相家召敦亚佐德进宫。姐妹俩高高兴兴地坐在床脚下谈笑。其时,敦亚佐德请求姐姐讲个故事消磨时间。山鲁佐德便征得国王许可,开始讲起故事来,借以引动国王的好奇心和兴趣,从而免遭杀戮。这样,日复一日,山鲁佐德一直讲了一千零一个夜晚,最后，终于使国王悔悟。&lt;br /&gt;
6.影响：&lt;br /&gt;
《一千零一夜》在世界各国广为传播。&lt;br /&gt;
它最早介绍到欧洲,对西方文化起过一定的积极作用,许多欧美文学艺术家,如但丁、乔叟、薄伽丘、莎士比亚、塞万提斯、莱辛等都或多或少地受到它的直接或间接的影响。     &lt;br /&gt;
在我国，早在六十多年以前就有了《一千零一夜》的译本。&lt;br /&gt;
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[2]冯辉.略论《一千零一夜》对世界文学的借鉴与影响.&lt;br /&gt;
摘要：《一千零一夜》对世界文学的借鉴与影响。荷马史诗中的巨人故事对《一千零一夜》的启发 ,《一千零一夜》对法国、英国、德国、中国作家的影响。 &lt;br /&gt;
一、流传情况：&lt;br /&gt;
1.流传时间：多数学者认为:它的故事和手抄本在中近东地区开始流传的年代约在8 世纪中叶—9 世纪中叶。一些世界文学史家则认为:大约在十字军东征时期(1095— 1291), 《一千零一夜》的故事已通过民间传到欧洲。&lt;br /&gt;
2.流传情况： &lt;br /&gt;
a. 18 世纪初, 法国人加朗根据叙利亚抄本, 首次把《一千零一夜》译成法文出版, 以后在欧洲出现了各种文字的译本。&lt;br /&gt;
b. 中国1900 年有过译本, 以后不断的出现多种白话文本。新中国成立后, 纳训选译的3 卷本以及80 年代出版的全译本1 —6 卷, 收集了275 个故事。&lt;br /&gt;
二、《一千零一夜》对古希腊荷马史诗巨人故事的借鉴&lt;br /&gt;
《一千零一夜》第4 卷第172 个故事《辛伯达航海的故事》写三次航海的故事, 可以看出受到古希腊荷马史诗《奥德修纪》中独眼巨人故事的影响, 又带有阿拉伯民族的特色。&lt;br /&gt;
三、《一千零一夜》对世界文学的影响：&lt;br /&gt;
1.文艺复兴人文主义作家对《一千零一夜》中故事的扬弃与创新&lt;br /&gt;
a)法国：《一千零一夜》第2 卷第75 个故事《阿里·艾尔哲明的故事》与法国文艺复兴时期拉伯雷《巨人传》中第三代国王庞大固埃出生时的行囊装载十分相似。&lt;br /&gt;
b)英国：在《一千零一夜》第3 卷第152 个故事的《亚历山大大帝和弱小民族的故事》与英国文艺复兴时期的作家莎士比亚的《哈姆雷特》中有类似的情节，两个故事有历史延续性与巧妙的联系。&lt;br /&gt;
《一千零一夜》：&lt;br /&gt;
东征西讨的希腊国王亚历山大,一次路过一个弱小国家, 其民众各自门前准备好了坟墓, 家家一贫如洗, 安贫乐道, 所以并不怕亚历山大来争夺地盘。亚历山大十分好奇, 亲自见他们的国王。国王拿了两个头骨, 告诉他这是两个国王的头骨, 一个生前暴虐, 死后安拉让他下地狱;一个生前公正廉明, 爱护百姓, 死后安拉让他升入天堂。国王又问亚历山大:“ 到底你是这两个帝王中的哪一个呢?”年青的亚历山大受了感动, 要这个国王做他的宰相。国王拒绝了他, 说他虽拥有一个大帝国, 却有许多仇敌。国王虽穷, 他所有的一切“ 仅仅是知足” 。亚历山大感慨万千,告辞归去, 不再侵犯他们。&lt;br /&gt;
《哈姆雷特》：第五幕第一场墓地对话中 &lt;br /&gt;
哈姆雷特面对死人头骨说道:“ 要是我们用想像推测下去, 谁知道亚历山大的高贵的尸体, 不就是塞在酒桶口上的泥土?”“ 凯撒死了, 你尊严的尸体, 也许变了泥把破墙填砌, 啊! 他从前是何等的英雄, 现在只好替人挡风遮雨。”&lt;br /&gt;
c)意大利：意大利文艺复兴时期的小说家卜伽丘的《十日谈》中的贵妇宴请国王吃鸡宴, 以打退国王邪念的故事, 在《一千零一夜》第4 卷第175 个故事《宰相夫人的故事》中有类似情节。&lt;br /&gt;
2.对18 世纪英国现实主义小说家笛福《鲁宾逊飘流记》的影响&lt;br /&gt;
把《辛伯达航海的故事》与《鲁宾逊飘流记》相比较, 辛伯达可以说是鲁宾逊典型的雏型与前身, 鲁宾逊则更加丰富, 更带时代特点。&lt;br /&gt;
1)不同点： &lt;br /&gt;
辛伯达是中世纪阿拉伯人中积极进取, 发展海外贸易,不断向外开拓勇于冒险的新兴商人, 他开初坐享父亲遗产,挥霍一空, 最后决定变卖家产七次到海上做冒险生意。&lt;br /&gt;
鲁宾逊是18 世纪英国资本主义原始积累时期的新资产阶级商人的代表, 父亲没有给他丰厚的资产, 他本人是不满现状的小商人, 三次海外冒险；&lt;br /&gt;
辛伯达是在第7次航海时在一个岛国居住了27 年才返回故乡, 鲁宾逊是在第三次航海时在一个荒岛上度过了28 年, 才返回故乡。&lt;br /&gt;
2)相似点：&lt;br /&gt;
两人都曾遭到过毁灭性的打击, 死里逃生,但每次都以顽强的毅力, 惊人的应变能力, 沉着应付, 化险为夷；发财致富的欲望, 对海外世界的好奇与向往, 每次都促使他们不安现状, 敢于做一次又一次的冒险。&lt;br /&gt;
3.对中国作家的影响&lt;br /&gt;
《一千零一夜》第1 卷第12 个故事《脚夫和巴格达三个女人的故事》中，脚夫诵的表达自己忠信的诗同中国现代作家钱钟书的长篇小说《围城》中的苏小姐自己写的诗相似。这里已改造成一首爱情诗, 方鸿渐当时并不知道是苏小姐自己写的诗, 说这首诗是借的外债,&lt;br /&gt;
四、小结&lt;br /&gt;
因为国别不同, 语言不通, 翻译技术有限，后来的作家们不一定能亲自看到这些《一千零一夜》中的故事原文。但阿拉伯文化与文学对欧洲文艺复兴运动及后来的世界文学的发展起到的推动作用和所作的贡献是世界发展史上所公认的事实。&lt;br /&gt;
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[3]陆英英.《一千零一夜》在欧洲.&lt;br /&gt;
摘要： 介绍了欧洲许多国家早期对《一千零一夜》的译本。《一千零一夜》译成欧洲各种文字后, 引起了欧洲人收集和研究东方文学的热望, 激起了他们了解东方的兴趣。《一千零一夜》对欧洲文学包括戏剧、小说、诗歌、诗剧都产生了巨大影响。&lt;br /&gt;
1.法国译本：&lt;br /&gt;
A.1704-1717年出现的法国安东尼·加仑的译本是《一千零一夜》——最著名的译本。为了迎合读者掺杂了许多自己想象的情节&lt;br /&gt;
B.1828年法国出版特雷布梯的译本 —— 增加情节，接近原版&lt;br /&gt;
C.1969年出版了勒内赫瓦姆的《一千零一夜》译本 —— 忠于原作&lt;br /&gt;
2.英国译本（几乎都是从法国译本转译而来）： &lt;br /&gt;
A.1811年乔纳森·斯科特出版的译本 —— 最突出&lt;br /&gt;
B.1838年，亨利·托伦斯打算给译文加注释, 但他只译了五十夜就死了&lt;br /&gt;
C.1839-1841年，爱德华·威廉·莱恩的《一千零一夜》三卷本（从阿文直译），删去了当时英国的道德传统所不能接受的故事, 并写了许多注释 —— 极具参考价值&lt;br /&gt;
D.1885年，理查德·伯顿的译本出版 —— 最完备的译本&lt;br /&gt;
E.英国军官伯顿（会讲阿拉伯语）—— 强烈殖民主义色彩&lt;br /&gt;
3.德国译本：&lt;br /&gt;
A.第一个把《一千零一夜》译成德文的是东方学家冯哈曼尔。&lt;br /&gt;
B.1837-1841年之间出现了凡勒的德译本 ——忠实原文，生涩&lt;br /&gt;
C.东方学家莱塔马教授 —— 德国最著名的译本&lt;br /&gt;
4.罗马尼亚译本：&lt;br /&gt;
A.1771年，出版的《哈伦·拉希德的故事》——罗马尼亚最早&lt;br /&gt;
B.1783年，修道院主教罗法伊勒出版了根据希腊文译出的全译本&lt;br /&gt;
C.1835-1838年格拉西姆·哥嘉出版《哈利曼或者阿拉伯神话故事》四卷本译本&lt;br /&gt;
D.1966-1976，罗马尼亚最大出版社——梅纳法出版社出版了十四卷本的《一千零一夜》&lt;br /&gt;
5.俄文译本：&lt;br /&gt;
A.萨利尔译的，东方学家卡利姆斯基出版的。&lt;br /&gt;
B.高尔基于1904年也译过。&lt;br /&gt;
C.列夫·托尔斯泰也译过几篇，如《皇帝和衬衣的故事》等。&lt;br /&gt;
6.捷克译本：&lt;br /&gt;
1958-1963年捷克斯洛伐克科学院出版的塔瓦外孜授译的《一千零一夜》全集。&lt;br /&gt;
7.波兰译本：&lt;br /&gt;
1774年出版了第一本——《阿拉伯传奇或一千零一夜》&lt;br /&gt;
8.威尼斯译本：&lt;br /&gt;
1757-1762年，出版了四卷本的《一千零一夜》和《一千零一日》故事集, 书名为《阿拉伯故事》。&lt;br /&gt;
9.希腊译本：&lt;br /&gt;
译者为布利兹威斯，译本分三卷。&lt;br /&gt;
10.此外还有葡萄牙语、荷兰语、丹麦语、瑞典语、匈牙利语等译本。&lt;br /&gt;
东方学家朝温在《阿拉伯著作一览》一书中用了一百二十页专门介绍《一千零一夜》的各种版本和文本。&lt;br /&gt;
&lt;br /&gt;
参考文献：&lt;br /&gt;
[1]文飙. 阿拉伯民间文学的珍品《一千零一夜》[J].徐州师范学院学报,1978(02):59-64.&lt;br /&gt;
[2]冯辉. 略论《一千零一夜》对世界文学的借鉴与影响[J].河南教育学院学报(哲学社会科学版),2001(01):110-112.&lt;br /&gt;
[3]陆英英.《一千零一夜》在欧洲[J].阿拉伯世界,1983(02):84-90.     --[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 13:34, 16 April 2018 (UTC)&lt;br /&gt;
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[1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. &lt;br /&gt;
&lt;br /&gt;
摘要： 中国翻译史的源头是佛经翻译，而西方翻译史则始于另一部宗教巨著———圣经翻译。中国的佛经翻译和西方的圣经翻译虽然在具体内容、翻译分期、信徒和对应的时代背景等方面有所差异，但两者都经历了直译、意译、直意译相结合的发展历程。本文对比了佛经翻译和圣经翻译，探求宗教类文献翻译中的共同特点。&lt;br /&gt;
1.佛经翻译&lt;br /&gt;
A.四个时期：&lt;br /&gt;
a. 创立时期（东汉末年到西晋），代表人物有安世高和支谦；&lt;br /&gt;
b.初步发展阶段是（晋代到隋朝），代表人物有道安和鸠摩罗什；&lt;br /&gt;
c.鼎盛时期（唐朝），代表人物为玄奘、不空；&lt;br /&gt;
d.逐渐结束于北宋。&lt;br /&gt;
B.翻译形式&lt;br /&gt;
最初由西域僧人的梵语口授，再找汉人加以润饰。音译。&lt;br /&gt;
后来出现精通汉语的印度高僧和熟练掌握梵语的中国高僧。直译为主。&lt;br /&gt;
C.翻译大家&lt;br /&gt;
三藏法师，从数量和翻译成就都无人能比。直译&amp;amp;意译结合。&lt;br /&gt;
2.圣经翻译&lt;br /&gt;
A.概况&lt;br /&gt;
圣经翻译是西方翻译史的起源。经历了希伯来文－希腊文－拉丁文的过程。&lt;br /&gt;
B.流传形式：手写本。&lt;br /&gt;
C.最早的圣经译本：公元前3-2世纪《圣经·旧约》（据《西方翻译简史》记载。后世也叫《七十子希腊文本》。&lt;br /&gt;
缺点：用词晦涩难懂，不易理解，跟当时的希腊语有较大的出入。&lt;br /&gt;
优点：此译本特别完整准确地还原了圣经原籍的内容。&lt;br /&gt;
D.翻译大家：a. 西塞罗—西方翻译史上最早的翻译理论家，主张活译。&lt;br /&gt;
b. 圣哲罗姆—翻译了第一部标准拉丁语圣经。直译和意译相结合。&lt;br /&gt;
3.佛经翻译和圣经翻译的相似性：&lt;br /&gt;
经历了直译—意译—直意译结合的过程。&lt;br /&gt;
A.最初翻译时，中西译者都是逐字逐句的直译。&lt;br /&gt;
原因：宗教经典神圣不可侵犯，译经僧侣对宗教经典抱有虔诚态度；&lt;br /&gt;
由于译者身份的局限性，缺乏专业的语言翻译基础。&lt;br /&gt;
B.随着经验的累积，译者们开始倡导意译。&lt;br /&gt;
代表人物：马丁路德&lt;br /&gt;
原因：受众人群都是普通老百姓，需要简单流畅、明晓易懂的语言才能让教义被大众所通晓。&lt;br /&gt;
C.主张直译&amp;amp;意译相结合。&lt;br /&gt;
代表人物：玄奘大师—《钦定本圣经》&lt;br /&gt;
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[2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.&lt;br /&gt;
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摘要：作者认为比利时学者安德烈勒菲弗尔（当代文学翻译学术带头人，较有影响力）由于对中国翻译史缺乏深入研究，对中国的佛经翻译了解不透彻，在《中西方翻译思想比较》中提出“西方译者更为忠实原文, 而中国译者则倾向于归化原文”的观点较为片面。并提出佛经翻译和圣经翻译的共有规律：直译、意译两原则交替主导翻译活动并趋于成熟，直至最终实现两者的有机融合。&lt;br /&gt;
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[3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.&lt;br /&gt;
摘要：《圣经》翻译的主要功能是服务于宗教的传播。但译者们对其“创造性叛逆”的翻译，使得《圣经》对世界各民族语言，包括对中国语言文学都产生了深远影响，同时推动各国文化交流、促进不同思想的包容。&lt;br /&gt;
&lt;br /&gt;
1.翻译不只是语言文字的转换，而是应关注原文在外语和本族语转换过程中的信息的失落、变形、增添、扩散等问题。&lt;br /&gt;
2.《圣经》翻译对西方各国（民族）语言的影响 —— 不分析译本翻译的好坏，而是分析译本对译入语国家或民族的文化和语言所产生的影响。&lt;br /&gt;
A.4世纪，乌裴拉主教翻译成东日耳曼语。&lt;br /&gt;
8、9世纪，阿尔弗雷得等翻译成古英语。&lt;br /&gt;
这些标志着民族语言翻译的开始。&lt;br /&gt;
B.《圣经》翻译在13世纪达到了新的高潮。&lt;br /&gt;
C.马丁路德：把《圣经》新约和旧约翻译成德语，并且翻译成能被大众所接受的语言。他认为翻译就是让外语成为译者的本土化语言。&lt;br /&gt;
作用：消除了普通人对《圣经》的语言障碍，对统一德语和发展德语做出贡献。&lt;br /&gt;
D.威廉廷代尔的译本成为英国翻译史上最著名的英王钦定本的主要参照本。&lt;br /&gt;
作用：完全符合英语的用法习惯，增加了英语的表现力；&lt;br /&gt;
对英国散文、语言和文化发展起到了不可估量的作用。&lt;br /&gt;
3.《圣经》在汉译中的创造性叛逆&lt;br /&gt;
A.创造的叛逆性翻译是为了使《圣经》在新的环境中易于被受众接受。&lt;br /&gt;
B.特征：&lt;br /&gt;
a.显著的归化特征：吴经熊采用骚体，把外国的体裁中国化。&lt;br /&gt;
吴经熊翻译的《新约全集》:“天主聖子耶穌基督福音之濫觴，正如《意灑雅先知書》之所記云:吾遣使者，以先啟行; 為爾前驅，備爾行程。”&lt;br /&gt;
b.误译：严复的译本以中国士大夫为主要读者，因此他的译本符合士大夫的价值观，同时也降低阅读难度。&lt;br /&gt;
c.改编或删节：严复考虑到中国读者几千年来的儒家文化熏陶，迎合中国道德伦理和文化。&lt;br /&gt;
4.《圣经》汉译对中国语言文学的影响&lt;br /&gt;
a.丰富了汉语词汇，为现代汉语带来许多新意象和表达方式。如，天堂、伊甸园等。&lt;br /&gt;
b.影响中国现代文学的创作主体，许多意象来源于《圣经》中的典故。&lt;br /&gt;
c.影响许多中国著名的作家和文学理论家。如，鲁迅、冰心、徐志摩等。&lt;br /&gt;
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&lt;br /&gt;
[4] 曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23.&lt;br /&gt;
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《圣经》中包含的男权思想：&lt;br /&gt;
1.创世纪故事中包含的男权思想。&lt;br /&gt;
a.在上帝创世的神话中，男性亚当是用象征承载人类生命的泥土按上帝的形象创造出来的，而女性夏娃是作为男性的附属品用亚当的肋骨而创造出来的，目的是为亚当消除孤独寂寞。&lt;br /&gt;
b.创世纪故事中，包含“女人是祸水”思想。作为女性象征的夏娃经不住蛇的诱惑，偷吃了禁果，使人类受到上帝的惩罚，开始了苦难。&lt;br /&gt;
2.“圣经故事”中的先知先觉、基督英雄们都是男性。&lt;br /&gt;
人类历史的英雄史都是谱写男性的。整个圣经故事都是以男性英雄为主线而描绘基督教历史的。从最早制造方舟振救人类的挪亚，到带领以色列人出埃及，使以色列人摆脱埃及法老贵族奴役的摩西，到带领以色列人力战外族，为以色列人开缰拓土的约书亚，再到带领以色列人雪耻，赶走外族，使以色列人建国的大卫以及拯救人类的耶稣等等。&lt;br /&gt;
3.婚姻家庭中的男权思想、夫权思想	&lt;br /&gt;
a.嫡长子制，忽视女性后代的存在。&lt;br /&gt;
b.多妻制。基督英雄们都是妻妾成群，可以主人的身份任意拥有女人。&lt;br /&gt;
c.休妻制。女性不论犯不犯错都可能被休。甚至可以被男性当财产、畜生一样送人。&lt;br /&gt;
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[5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究, 2009(00):35-44.&lt;br /&gt;
摘要：作者认为出现在父权制社会的圣经充满了男性形象和语言，对《圣经》进行重新的诠释，以挑战圣经中的父权制。焦点是希伯来圣经，重点不仅仅落在不利于女性的事例上。 考量了圣经中女性研究的三条女性主义进路。&lt;br /&gt;
1.阐释了一些不利于女性的故事。希伯来女子从生到死都属于男人，遭受到男性权威的虐待、凌辱。&lt;br /&gt;
2.重申被忽视的女性作为上帝的篇章和反抗父权制文化的女性形象。&lt;br /&gt;
3.利用前两种方式，同情地重新讲述关于妇女的故事&lt;br /&gt;
（作者菲利斯·特丽波被认为是在圣经文本基础上探索妇女与性别问题的领袖人物）&lt;br /&gt;
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[6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.&lt;br /&gt;
女性经验是重新阐释圣经的基点。&lt;br /&gt;
女性主义圣经诠释随着女性神学的繁荣而发展。女性圣经诠释是不同于女性主义神学的独立学科，它具有独立的研究前提和范畴。&lt;br /&gt;
核心内容：对传统的圣经诠释和基督神学所建构的两性关系提出质疑和批判；寻找、重建圣经中被忽视、被遗忘的女性形象，恢复重建女性的地位和尊严；为争取女性在教会中担任圣职而斗争。&lt;br /&gt;
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参考文献：&lt;br /&gt;
[1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192. &lt;br /&gt;
[2]顾颍.从佛经与《圣经》翻译看中西方翻译思想——《中西方翻译思想比较》评析[J].常熟理工学院学报,2008(03):122-124.&lt;br /&gt;
[3]姜晏.译介学视角下的中西方《圣经》翻译[J].青岛大学师范学院学报,2011,28(02):125-128.&lt;br /&gt;
[4]曾志琼.浅析“圣经故事”包含的男权思想及其危害[J].西昌学院学报(自然科学版),2004(04):21-23. &lt;br /&gt;
[5]菲利斯·特丽波,周辉.女性主义诠释学与圣经研究[J].圣经文学研究,2009(00):35-44.&lt;br /&gt;
[6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 02:42, 4 June 2018 (UTC)&lt;br /&gt;
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《霍乱时期的爱情》&lt;br /&gt;
加夫列尔·加西亚·马尔克斯——拉美魔幻现实主义的领军人物&lt;br /&gt;
1967年，《百年孤独》；1982年， 获诺贝尔奖；1985年，《霍乱时期的爱情》&lt;br /&gt;
故事是以费尔明娜和阿里萨、乌尔比诺医生爱恨悲欢的三角恋为主线，以阿里萨与其余622名女性形形色色的性欲与真情为副线。小说采用了顺时叙述。以乌尔比诺的棋友之死为故事的开始，先后讲述了：医生的婚后生活；阿里萨和费尔明娜如诗如梦的初恋，乌尔比诺追求费尔明娜并与之结婚；阿里萨的失望心情和纵欲寻欢；费尔明娜婚后生活的不快和孀居的孤独；阿里萨耐心点燃费尔明娜心中的爱火。&lt;br /&gt;
一.主要人物：&lt;br /&gt;
1.阿里萨：喜欢阅读、喜欢写诗。多愁善感，阴郁。一生中有过623个女人，但费尔明娜是他一生的挚爱。最后在他并不怎么上心的航运公司里获得了董事长的职位。&lt;br /&gt;
“费尔明娜，我等待这个机会，已经有51年9个月零4天了，在这段时间里，我一直爱着你，从我第一眼见到你，直到现在，我第一次向你表达我的誓言，我永远爱你，忠贞不渝。”这句话是在等待了半个世纪终于等到费尔明娜的丈夫死去后，阿里萨在葬礼之后再一次对费尔明娜隔了51年的第二次表白。&lt;br /&gt;
2.费尔明娜：她是骡子商人的女儿，美丽、智慧并且高傲。被阿里萨追求却遭到父亲的强烈反对，后来嫁给医生乌尔比诺。&lt;br /&gt;
3.乌尔比诺医生：擅长治疗霍乱的医生，黄金单身汉，知识渊博，外表帅气（虽然电影里图片很猥琐），热爱城市并致力于为他的城市他的家乡奉献，但实际上骨子里较懦弱，在和费尔明娜的婚姻里婆媳关系不合，他不敢冲撞他的母亲。“只有上帝知道我有多爱你。”&lt;br /&gt;
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二.爱情&amp;amp;霍乱的隐喻关系&lt;br /&gt;
1.在追求费尔明娜的过程中，阿里萨生理和心理都经受了如霍乱症状一般的痛苦。在阿里萨对费尔明娜一见钟情后，“他开始寡言少语，茶饭不思，辗转反侧，彻夜难眠”。&lt;br /&gt;
等待费尔明娜回第一封信的时候“他腹泻，吐绿水，晕头转向，常常突然昏厥，脉搏微弱，呼吸沉重，像垂死之人一样冒着虚汗…”这些症状和霍乱的症状很相似。但事实上阿里萨并没有患上霍乱，后边医生的检查也可以证实。&lt;br /&gt;
所以，我们可以这样认为：爱情，在阿里萨身上的表现就如同霍乱对人的侵袭一样。在这本书中，霍乱也就代表爱情，所有的症状都是变相的爱。&lt;br /&gt;
但不同的是：疾病带来的恐惧是自私的，是从自我角度出发的，是害怕失去自己；而爱情带来的恐惧常常源自于所爱之人，是害怕失去对方。&lt;br /&gt;
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2.在中国古代文学里也有关于爱情对疾病的意象。&lt;br /&gt;
在中国，因爱情引起的疾病叫做“相思病”，一般是因对某人的思念而生病。表现为焦虑、食欲不振、失眠、幻想、晕厥等类似生病的身体状态。&lt;br /&gt;
很著名的例子就是《红楼梦》中的林黛玉人物形象。 还有《西厢记》张生为崔莺莺“为伊消得人憔悴”也是“相思病”的例子。这样的例证还有很多。&lt;br /&gt;
问题：如果爱情是一种病，能致病，那么医生能不能诊断并治愈因爱情引起的疾病呢？&lt;br /&gt;
大家都知道，林黛玉的身体一向比较弱，但是住在大观园中可以让黛玉有很好的物质条件治疗或者从中医角度来讲“调养”她的身体。看当时最好的医生, 吃的是最难得到的药材做成的药。可是在听到宝玉和宝钗成亲的消息后还是郁郁而终。说明在中国的古典文学中，医生并不可以治愈爱情引起的相思病。&lt;br /&gt;
我们再看西方文学里《变形记》——“所有人都知道, 真正的疾病和爱情疾病是很相似的: 意识变得虚弱, 眼神变得憔悴,膝盖变得无力… 上帝啊! 医生们真是无知啊! ”&lt;br /&gt;
还有《霍乱》里，母亲担心阿里萨得了霍乱,去看了医生。做了很多必要的医疗检查, 最后通过对阿里萨的性格了解以及与阿里萨的谈话确定了病因。医生最后能确诊阿里萨的爱情疾病并不是因为他高超的医术或者他的各种医学常识, 而是因为他本人的年纪来带的阅历以及对爱情和对阿里萨的了解得出的结论。&lt;br /&gt;
以及小说里医术高超的乌比尔诺医生, 虽然有广博深人的医学知识储量, 他研究霍乱是为了在医学层面上彻彻底底的治疗它。他一点也不懂爱, 不懂爱情。所以，乌比尔诺医生也不具有诊断爱情疾病的能力。&lt;br /&gt;
所以，中西方古典的文学作品中, 医生是并不赋有能力来诊断和治疗爱情所引起的疾病的。&lt;br /&gt;
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三.主人公的青年、中年、老年三个阶段他们的爱情。&lt;br /&gt;
a.青年阶段——浪漫疯狂，以阿里萨和费尔明娜的初恋为主。因费尔明娜的醒悟接着拒绝阿里萨而结束——“不，请别这样，忘了吧”、“今天见到您，我发现我们之间不过是一场幻觉”。这个时期，阿里萨是以等待、信还有音乐追求费尔明娜的，我认为这三项几乎是在所有的爱情中都会或多或少起到作用的。&lt;br /&gt;
等待。自从阿里萨对费尔明娜一见倾心之后，他就每天在费尔明娜上学必经的道路上，捧着一本诗集在一棵杏树下假装看书，只为了一天能匆匆忙忙地看上她四次，风雨无阻。&lt;br /&gt;
信。最初阿里萨缺乏勇气向费尔明娜说出自己的爱意，于是开始给费尔明娜写信，从一张便条最后变成了70页的情书。也是在频繁通信中，打动了费尔明娜。&lt;br /&gt;
音乐。在因费尔明娜失眠的夜晚，他在费尔明娜的窗外演奏自创的爱的华尔兹。费尔明娜也是在他的音乐中更深刻的了解他。&lt;br /&gt;
总的来说，青年时期：他们的相爱过程短，不成熟，更多的是幻想。&lt;br /&gt;
&lt;br /&gt;
b.中年阶段，主要是费尔明娜与乌尔比诺医生的婚姻以及阿里萨漫长的等待中的孤独狩猎生涯。&lt;br /&gt;
费&amp;amp;阿：隐秘顽强。阿里萨单相思，对抗时间和死亡。&lt;br /&gt;
阿里萨在被拒绝：先是自虐，后转移对费尔明娜及她丈夫的怨恨与诅咒，随后又对费尔明娜宽恕，决定和费尔明娜留在同一个城市，并且开始新一轮漫长的等待，他的单相思——对抗时间和死亡，等乌比尔诺医生死去。&lt;br /&gt;
爱情的失败也让阿里萨意识到自己的身份和社会地位配不上费尔明娜，逼迫着自己去经营生活，改变自己的社会地位。&lt;br /&gt;
阿里萨猎艳：通过性寻找爱，消除内心孤独感&lt;br /&gt;
同时他和众多女人发生肉体关系。但其实正是通过和其他女人的相处，来消除内心的孤独感，弥补得不到费尔明娜爱情的缺失。他也更加确认费尔明娜对他的不可替代，是他一生唯一的挚爱。&lt;br /&gt;
费&amp;amp;乌：世俗婚姻。陪伴，稳定、平淡。&lt;br /&gt;
在费尔明娜与乌尔比诺医生的婚姻中，他们互相陪伴，平淡也稳定。只有一次例外，就是乌尔比诺出轨芭芭拉林奇小姐，被费尔明娜发现后，医生经过长时间的内心矛盾并最终坦白。&lt;br /&gt;
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c.老年阶段——理性智慧，以费尔明娜和阿里萨的黄昏恋为主。&lt;br /&gt;
阿里萨一直坚持到了医生去世。他以他的坚持和耐心打动了费尔明娜，让费尔明娜愿意接受他。他们开始了一段旅行，旅行结束的时候因为他们不愿面对现实所以不愿回去，最后乘着以霍乱为帆的船继续航行。&lt;br /&gt;
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四.小说里讲述的各种各样的爱情可能。&lt;br /&gt;
开篇摄影师赫雷米亚与黑白混血女人之间隐蔽的恋情；&lt;br /&gt;
阿里萨和费尔明娜持续了半个世纪的柏拉图式的精神恋爱（包括他们青涩纯粹的初恋与年老时的黄昏恋）；&lt;br /&gt;
阿里萨对费尔明娜忠贞不渝的单相思；&lt;br /&gt;
费尔明娜与乌尔比诺医生的世俗婚姻爱情；&lt;br /&gt;
乌尔比诺与林奇小姐战战兢兢的婚外恋；&lt;br /&gt;
阿里萨和众多女人们纯粹的肉欲追逐的露水爱情；&lt;br /&gt;
阿里萨与14岁少女的洛丽塔式的忘年恋…&lt;br /&gt;
忠贞的爱、雀跃的爱、逃离的爱、私通的爱、狂热的爱、转瞬即逝的爱、生死相依的爱…&lt;br /&gt;
不同层次不同角色不同性质的爱情，这篇小说也堪称是“爱情的教科书”“陈列爱情的博物馆”&lt;br /&gt;
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五.除了爱情之外的其他主题。&lt;br /&gt;
1.衰老。儿童摄影师赫雷米亚德圣阿莫尔的自杀；&lt;br /&gt;
岁月加于人的痕迹——表现在岁月加于主人公身上的痕迹（蹒跚的步态、上楼梯的速度、意外的跌倒、满是皱纹的皮肤、稀疏的头发）；&lt;br /&gt;
乌尔比诺医生、阿里萨想尽办法延缓衰老 &lt;br /&gt;
2.死亡。小说中提到最多的是霍乱，也是整个故事发生的宏大背景。&lt;br /&gt;
借以描写这种难以治愈、神秘莫测的疾病来写死亡。因为霍乱预示着死亡，而且在当时几乎就等于死亡，当时地的生产力水平和医学发展不足以让人们去抗衡。&lt;br /&gt;
当人们被生理上的痛楚折磨时，往往无力也无心开出精神上的花朵。然而小说中描写的就是这样一种稀有的生命之花，因为爱情有勇气与苦难和死亡的疾病抗争。&lt;br /&gt;
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阿里萨一生都在追求费尔米纳的爱情，即使面临死亡的抉择也义无反顾: 冷酷无情的费尔米纳的父亲最初阻挠女儿与他的爱情时，甚至用死亡来威胁阿里萨，但是阿里萨毫无畏惧，“‘朝我开枪吧!’他说，把一只手放在胸口上，‘没有比为爱情而死更光荣的事情了’”。因为有了爱情，所以阿里萨充满了无畏的勇气。他为了爱情不怕死，并且崇尚为爱而死。&lt;br /&gt;
同时阿里萨的爱情之路实质上是一直与死亡作斗争，他到年老时害怕衰老和死亡，因为他明白，只有乌尔比诺医生死去，他才有机会再接近费尔米纳，因此，他努力与时间、衰老、死亡作斗争，他要为爱好好活着，战胜时间，战胜衰老，跨越死亡，他要活过乌尔比诺，才能重获费尔明娜。&lt;br /&gt;
所以说这两个主题实际上也是与爱情密切相关的，因爱情而起的，可以归结到爱情主题上。&lt;br /&gt;
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参考文献：&lt;br /&gt;
1.於珍珍.《霍乱时期的爱情》中的医生形象分析[J].才智,2014(32):318-319.&lt;br /&gt;
2.荣利. “滥情”的痴情者[D].浙江师范大学,2015.&lt;br /&gt;
3.谈清妍.爱情的乌托邦——解读《霍乱时期的爱情》中的爱情与死亡[J].襄樊学院学报,2009,30(06):51-54.&lt;br /&gt;
4.高小斐,孙世友.悲欢离合五十年——浅论《霍乱时期的爱情》中的爱情[J].才智, 2014(16):288.&lt;br /&gt;
5.李贞琤.疾病缠绕下的爱情——马尔克斯小说爱情主题与疾病主题关系探究[J].开封教育学院学报,2017,37(12):38-39+42.&lt;br /&gt;
6.姚婧.情感的疾病化书写——解读《霍乱时期的爱情》[J].名作欣赏,2015(17):125-128.--[[User:ImRx|ImRx]] ([[User talk:ImRx|talk]]) 03:00, 4 June 2018 (UTC)&lt;br /&gt;
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handout of张传伟&lt;br /&gt;
世界主义与世界文学&lt;br /&gt;
一、世界主义&lt;br /&gt;
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1、世界文学的定义：&lt;br /&gt;
(1) 各民族优秀文学的经典之总汇；&lt;br /&gt;
(2) 一种用于从总体上研究、评价和批评文学的全球的、跨文化的和比较的视角；(3)不同语言中的文学生产、流通、翻译和批评性选择的发展演变过程。&lt;br /&gt;
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2、形成和发展&lt;br /&gt;
（1）词源探究&lt;br /&gt;
作为一个跨学科的理论概念和批评话语，世界主义可以追踪到古希腊的哲学思想那里，甚至这个术语本身就出自希腊语。我们今天在英文中所描述的世界主义( cosmopolitanism) 是由两个词组成的:cosmos在希腊语中，意为宇宙或世界，polis意为城市或城邦。这样我们就有了“世界”这个词。那些信仰其伦理道德的人便被人称为“世界主义者”( cosmopolites)，而他们的主张和理论教义便被称为“世界主义”。这就是世界主义概念就其字面意义而言的形成。&lt;br /&gt;
（2）后世发展&lt;br /&gt;
	世界主义通常在三个层面得到讨论:哲学的、政治学和社会学的以及文化和文学的层面。哲学维度的世界主义可以追溯到柏拉图和亚里士多德的著作，这两位希腊先哲本质上并不赞成世界主义，在他们看来，人们通常生活在自己的城邦，并且依恋特定的政治教义，所以很容易与之相认同。当他们的城邦遭受外敌入侵时，公民们便会奋起抗击，保卫自己的城邦。对这些古希腊人来说，好的公民不应当与外邦人分享过多的利益。这一观点后来逐步发展为爱国主义和民族主义。在中国，爱国主义和民族主义对那些试图形成独特的中华民族和文化认同的知识分子一直有着极大的吸引力，一个特例就是五四时期，当时虽曾有人鼓吹过世界主义，但很快就销声匿迹，淹没在民族主义的汪洋大海中了，其原因恰在于当时的中国文化土壤和时代精神并不适合世界主义驻足。&lt;br /&gt;
但并不是所有古希腊先哲们都反对世界主义，另一些思想较为开放且见多识广的古希腊知识分子，尤其是犬儒派哲人迪奥格尼斯(Diogenes)则鼓吹一种较为普世的伦理道德，因为他并不把自己局限于特定的城邦，甚至公开宣称:“我是一个世界公民。”从此，“世界公民”(citizen of the world)便成了所有信奉世界主义的人所致力于追求的理想。当然，他们所追求的并非是特定的民族—国家的利益，而更是一种普世价值和全人类的共同利益。他们的这种理想和追求并不满足于局限在哲学和社会政治层面，他们还试图将其推而广之。&lt;br /&gt;
当代学者在讨论世界主义时很少引证这些远古时期的观点，但其中的某些观点却依然在现代哲学家的著作中得到响应和发展。启蒙时期的哲学家如康德则表示了对其的莫大兴趣，提出一种世界主义的法律或权利。19 世纪以前的不同形式的世界主义仅仅停留在哲学家的假想和论辩层面上的话，那么自19 世纪以来，那些有远大抱负的人便逐渐开始将世界主义付诸实践了，从哥伦布发现“新大陆”到世界贸易航线形成等都为全球化的进程奠定了基础。&lt;br /&gt;
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二、世界文学&lt;br /&gt;
&lt;br /&gt;
1、源起&lt;br /&gt;
歌德是德语“世界文学”( Weltliteratur) 一词的创制者，也是第一个明确提出世界文学观念的人。歌德关于世界文学的论述集中在1827-1830年间，归纳起来有三个要点: 其一，世界文学是一个对话和流通的平台，各民族文学可以通过进入这个平台相互交流、取长补短、相得益彰。其二，世界文学是一个合乎世界主义的理想，能够推动各民族文学逐渐打破孤立割裂状态，影响融合而形成一个有机的统一体。其三，世界文学是彰显民族文学价值的场所。歌德就站在德国的角度谈论世界文学，他渴望本民族文学在推动世界文学形成过程中扮演“光荣的”、“美好的”角色，对其他民族文学(例如法国文学) 所处的优势地位则十分敏感。&lt;br /&gt;
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2、“世界文学”内涵&lt;br /&gt;
在《什么是世界文学？》一书中，丹穆若什以世界、文本和读者为中心，进一步阐释“世界文学”的三重定义：“世界文学是民族文学间的椭圆折射”“世界文学是从翻译中获益的文学”“世界文学不是指一套经典文本，而是指一种阅读模式——一种以超然的态度进入与我们自身时空不同的世界的形式”。首先，“椭圆折射”利用椭圆具备两个焦点的特性，指代世界文学的双重性质。世界文学具有两个核心要点——源文化和主体文化。一部文学作品如果想成为世界文学的一部分，需要从源文化出发，被他国文化空间接受。“接受”过程与接受主体的民族文化传统和价值需求相关。因此，世界文学既与源文化相关，又与主体文化相关，是一种双重折射。仔细分析，世界文学双重折射特性表明世界文学作品并非静止、孤立，而是在不同国家、不同文化间互相流通、交流、传播、碰撞。世界文学作品，不仅受到源文化熏陶，也经过主体文化的接受和改造。其次，由于语言障碍，世界文学作品的传播和流通必须依赖文学翻译。但是，文学语言在翻译过程中会有得失。丹穆若什认为翻译中对于得失的衡量是区分民族文学与世界文学的标志。具体来看，在翻译中受损的文学，“通常局限于本民族或本地区的传统内”；从翻译中获益的文学，“进入世界文学的范畴”。他进一步指出，民族文学进入世界文学，当范围扩大后，“风格上的损失会被深度上的扩张所抵消”。由此看出，世界文学作品源于民族文学而高于民族文学，价值取向超越民族特性，拥有“世界性”。最后，丹穆若什认为世界文学并非经典文本的简单集合，而是通过一种阅读，使读者超越自身时空，进入更加广阔的世界。作为阅读模式，一部作品能否成为世界文学，取决于其他国家、民族读者的阅读效果。一旦外国作品开始在读者脑中发生共鸣，世界文学就开始活动。这种“共鸣”，实际是不同民族文学作品的相同价值取向的融汇。作品自身价值取向被本国以外读者认可，超越民族性，成为世界性价值。由此看来，世界文学不代表文学作品数量的多少，而是作为一种阅读模式，“可以通过少量作品来深入体验，也可以通过大量作品来广泛探寻”，在世界范围内寻找共鸣。&lt;br /&gt;
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3、“世界文学”与“世界的文学”&lt;br /&gt;
一般而言，“世界文学”和“世界的文学”这两个概念多半是在明确的不同语境中被运用：若说“世界文学”依然意味着作品之无可非议的重要性，那么，“世界的文学”则更多地指向世界上那些不怎么有名、却能展示新方向的文学；它们不同凡响、颇有魅力，却还未在读者意识中占有重要位置。也就是说，“世界的文学”未必就是审美和经典意义的上乘之作，或得到广泛接受的作品。谈论“世界的文学”，人们面对的是浩繁的书卷，无数作品和文化传统，难以把握的界线，并在挑选时怀有开放态度。&lt;br /&gt;
	20 世纪70 年代，世界体系理论( World System Theory) 兴起于美国，对世界文学观念产生重大影响。以美国著名社会学家伊曼纽尔·沃勒斯坦( Immanuel Wallerstein) 为代表的世界体系理论的核心，是把人类社会看成一个由结构性经济联系及各种内在制度制约的一体化的体系，以此作为考察社会发展变迁的分析单位。这是对20 世纪五六十年代兴盛的以民族国家为分析单位、研究人类社会发展变迁的经典现代化理论的反拨。&lt;br /&gt;
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4、世界文学与比较文学&lt;br /&gt;
世界文学与比较文学的关系引起西方学者的重视。一种声音认为，世界文学相比于比较文学，只是在原有学科体系基础上扩大比较范围。如大卫·费里斯指出：“比较文学应成为世界文学，只是扩大比较范围，比较方法不变。”另一种声音认为，比较文学与世界文学并行不悖，相互作用。“国别文学、比较文学和世界文学彼此间保持动态相互作用关系，都无法完全取代对方。”②对于读者来讲，世界文学仅存于国家空间。比如中国读者阅读海明威《老人与海》，即使该作品在世界范围内得到广泛认可，作为世界文学作品享誉中外，但对于中国读者而言，阅读的只是一部美国小说而已。比较研究作为方法，通用于国别文学、比较文学和世界文学研究。但是，如库班指出，“世界文学接受文本，即使代表特别的国家精神……也能穿过甚至超越他们的国家，语言和历史起源，有效解域本身”，世界文学关注世界性，超越民族性。今天西方学者老话重提，有一些新的阐释，但是，作为克服比较文学危机、面向未来的比较文学学科理论，尚缺乏指导性意义。全世界比较文学学者必须寻求比较文学理论的新突破。&lt;br /&gt;
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三、中国文学的世界化与世界文学的中国化&lt;br /&gt;
&lt;br /&gt;
1、中国文学的世界化&lt;br /&gt;
中国文学世界化并不只是中国作家获得国际大奖或是中国作家作品被翻译介绍到外国。世界化是中国文学作为全球化时代世界文学的主体之一，在世界文学中体现出中国主体性。&lt;br /&gt;
马克思《路易·波拿巴的雾月十八日》中说：“就像一个刚学会一种新语言的人总是要把它翻译成本国语言一样；只有当他能够不必在心里把新语言翻译成本国语言，当他能够忘掉本国语言来运用新语言的时候，他才算领会了新语言的精神，才算是运用自如。”后现代批评家们奉为圭臬的这篇名著中，马克思的话说出了中国的世界文学认证的真正价值。全球化时代中，世界文学是对自我认证，也是对他人的认证，中国文学从世界文学得到认证，同样，世界文学从中国文学得到认证。&lt;br /&gt;
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2、世界文学的“中国化”&lt;br /&gt;
	世界文学的“中国化”指很多学者表示怀疑，以为是将世界文学作品按中国的观念进行改造，甚至变成“红色经典”。我们必须解释清楚：世界文学的中国化并不是用中国文学标准来“化”世界文学，而是建构中国的世界文学阐释理论体系。这是完全正当的无可非议的，中国文学从不追求“文化权力中心”。但是中国文学必须建立中国的世界文学视域，中国如何看待世界文学史理论、世界文学经典的选编与世界文学翻译，这三大要素，缺一不可。&lt;br /&gt;
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参考文献&lt;br /&gt;
[1]方维规.何谓世界文学?[J].文艺研究,2017(01):5-18.&lt;br /&gt;
[2]曹顺庆,李斌.比较文学未来发展之路——世界文学与比较文学变异学[J].中国高校社会科学,2016(06):39-47+154.&lt;br /&gt;
[3]方汉文.中国文学的世界化与世界文学的中国化[J].江南大学学报(人文社会科学版),2016,15(01):93-98.&lt;br /&gt;
[4]王宁.世界文学语境中的中国当代文学[J].当代作家评论,2014(06):4-16+2.&lt;br /&gt;
[5]王宁.世界主义、世界文学以及中国文学的世界性[J].中国比较文学,2014(01):11-26.&lt;br /&gt;
[6]刘洪涛.世界文学观念的嬗变及其在中国的意义[J].中国比较文学,2012(04):9-21.&lt;br /&gt;
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西方文学的翻译&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
一、翻译内容、技法叙事&lt;br /&gt;
清末颇为兴盛的外国小说翻译一方面介绍了西方的文化思想,另一方面明显的汉民族文化特征仍不容忽视。因为近代译者多具有根深蒂固的中国文化观念,因此他们在翻译过程中对原著进行特殊的、比较主观的处理是特定历史阶段的产物。&lt;br /&gt;
在西方小说文化思想内容的翻译方面,“西方宗教观、伦理观与中国具体国情不同,其文学作品必然与中国文化发生抵悟,翻译者趋于沟通的心理,尽可能地使译作。与中国文化相通。”&lt;br /&gt;
在叙事技法的传递方面,“早期小说译者的文学修养主要源于中国传统文化,其译作的小说文体形式必然采用中国原有的通俗小说文体——章回体。在原著风格的翻译方面,“早期小说译者在翻译小说时非常注重小说的读者群,这些读者多属具有一定文化修养的文人阶层,其思维方式、审美习惯皆己定型。翻译者如果想拥有庞大的读者群,其译作就应该考虑到中国读者的阅读习惯与审美情趣,突出小说消闲、怡情的文学特征。因此,外国小说译作的汉化便成了翻译者有意追求的一种语言风格。&lt;br /&gt;
&lt;br /&gt;
二、翻译方法和翻译文体&lt;br /&gt;
由于文学意识的不自觉、白话语体表达的幼稚性以及受众对象的特殊性等原因,在近代的文学翻译中,归化的手法、文言的文体和意译的方法颇受青睐。因此,“这种译述、意译的风气使得早期文学翻译的体例很不完备。”文学革命爆发后,文学翻译的目标读者出现“平民化”倾向,文学翻译文体走向通俗化、大众化,同时由于文学翻译中文学意识的不断增强,直译方法逐渐为越来越多的译者所使用,文学翻译开始走向异化。&lt;br /&gt;
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三、近代翻译与意识形态的相互关系&lt;br /&gt;
译入语文化中的主流意识形态对中国近代翻译选材有着不容忽视的影响和操控作用。1840年—1919年的中国翻译史印证了勒菲弗尔的翻译理论。通过研究这个时期的翻译史,我们可以清楚看到,翻译作品的兴盛是随着各个历史阶段的主流意识形态的变化而变化的。例如“甲午战争的失败把中华民族的生死存亡摆在每个人的面前，……此时的意识形态可以归纳为‘开民智、求变革’,其目的是为了唤醒全体国民,进行思想和现代意识启蒙。小说因为其易普及&lt;br /&gt;
性被选作变革工具,成为资产阶级改良派医治`社会病'的良方。”&lt;br /&gt;
&lt;br /&gt;
四、近代翻译在文化和语言方面的属性&lt;br /&gt;
	中国近代翻译有层次区别,早期的科技翻译不同于后来的社科、文学翻译,前者主要是技术问题,后者主要是文化和语言问题。众所周知，文化翻译往往涉及到深层的语言体系问题。近代社会译者所深谙的古代汉语体系决定了近代翻译文学从根本上具有中国“古代性”。这样,“翻译者总是用旧思想、旧思维来理解和表达西方新思想、新思维,总是在旧有的语言体系中寻找相对应或相似的术语、概念、范畴和话语方式,因此,西方思想文化在翻译的过程就不知不觉地变了形,变得本土化、民族化了。&lt;br /&gt;
五、近代翻译的动机及其所带来的影响&lt;br /&gt;
近代译者为了让时人了解西方民主思想和先进的科技知识,大多有目的地选择政治小说、科学小说、侦探小说加以引进,其翻译动机就是要救国启民,因此他们的翻译观明显具有功利主义的性质。这一点对于我们理解近代的小说翻译理论和翻译策略大有裨益,对于译文中普遍存在的删改现象也就能够给予合理的解释。他明确地谈到“他们企图用中国传统文化和文学的规范去干预原文本,以此来调整读者对译文的反应,避免可能造成的文化障碍。运用这种策略和方法的目的,无非是趋利避害,把原文本中有利于译文读者的信息翻译出来,对那些不利于一译文读者或不实用的信息避而不译。”&lt;br /&gt;
参考文献&lt;br /&gt;
【1】吴莎,屠国元.论中国近代翻译选材与意识形态的关系(1840-1919)[J].外语与外语教学,2007(11):38-40.&lt;br /&gt;
【2】顾建新.清末民初文学翻译方法与文学翻译文体的发展[J].外语教学,2004(06):50-54.&lt;br /&gt;
【3】韩永芝.从文化排斥与文化认同看清末外国小说翻译[J].解放军外国语学院学报,2001(05):66-69.&lt;br /&gt;
【4】高玉.论中国近代翻译文学的“古代性”[J].华中师范大学学报(人文社会科学版),2000(04):66-72.&lt;br /&gt;
【5】陆国飞.近代外国小说译介中的功利主义思想[J].学术界,2007(04):236-239.&lt;br /&gt;
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外国诗歌翻译&lt;br /&gt;
[1]郭建辉.外国诗歌的审美特征与外国诗歌的鉴赏[J].重庆工业高等专科学校学报,2001(03):93-95.&lt;br /&gt;
由于各民族的文化传统的不同影响，外国诗歌也呈现出不同的特点，详细分析了从《荷马史诗》与《圣经》到现代主义艾略特的《荒原》特点，以把握外国诗歌的审美特征。&lt;br /&gt;
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[2]河洛易.中国现代诗歌翻译概述[J].解放军外国语学院学报,2000(05):105-108.&lt;br /&gt;
作为中国20世纪的诗歌翻译来说, 大致可分为七个阶段：1、诗歌翻译的前奏曲——近代诗歌翻译 (1840 年鸦片战争到 1919年“五四”运动)；2、现代诗歌翻译的开创期 (从1919 年新青年社到 1930年“左联”成立)；3、现代诗歌翻译的中期 (从 1930 年“左联”成立到 1937 年抗战开始)；4、现代诗歌翻译的后期 (从 1937年抗战开始到1949年中华人民共和国成立)；5、当代“十七年”的诗歌翻译 (从 1949 年新中国成立到“文化大革命”前夕)；6、当代“文革十年”的诗歌翻译 (文革十年)；7、当代新时期的诗歌翻译 (1976 年至今)。&lt;br /&gt;
外国诗歌的翻译不是一个自我封闭的静态系统，而是一个不断自我调整和适应的开放系统。&lt;br /&gt;
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[3]熊辉.翻译诗歌对诗人创作的影响[J].文艺争鸣,2017(09):7-12.&lt;br /&gt;
翻译诗歌为百年新诗发展注入了生机和活力，学界目前多从创作技巧、形式艺术或思想情感的角度去论述前者对后者的影响，较少从创作实践的层面去思考二者的关联。实际上，新诗创作者由于接受了不同的文化而具有各自特殊的写作背景，翻译诗歌对新诗创作的影响也因为创作主体的多元化而呈现出复杂的格局：部分诗人直接阅读并翻译了外国诗歌，译诗对他们创作的影响主要停留在翻译过程或思维转换上；也有部分诗人通过阅读其他人翻译的作品而受到了译诗文本的影响，这部分人也包括那些参与翻译的诗人，因为他们自己在翻译诗歌的同时也可能会阅读别人的译作。&lt;br /&gt;
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[4]熊辉.外国诗歌的翻译与中国现代新诗的文体创新[J].上海师范大学学报(哲学社会科学版),2013,42(03):70-76.&lt;br /&gt;
外国诗歌的翻译有助于中国新诗的文体创新,作者从语言层面的创造新字、改进语言句法和表达方式,形式层面的创造新形式、引入新形式等方面展开论述。在此基础上分析了这种在翻译的过程中创新的文体所具有的文体特征和文化属性,进而表明外国诗歌的翻译对中国新诗文体创新具有带动作用。&lt;br /&gt;
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[5]李特夫,李国林.诗歌翻译研究:传统思路与现代视野[J].天津外国语学院学报,2004(01):31-36+47. &lt;br /&gt;
随着译学研究范式的转向、开拓与创新 ,各种译学思想得以不断重诂和修订，为我国诗歌翻译研究带来了新的启示。在对传统译诗观念进行简要回顾和思考的基础上，针对当前一些争议和疑难性问题提出了个人看法，并借鉴西方译论，就未来诗歌翻译研究有关问题进行了探讨。&lt;br /&gt;
&lt;br /&gt;
[[Media:Earliest_translations_from_the_West_to_Chinese_presentation_by_Lin_Li.pdf]]&lt;br /&gt;
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[[Media:The Arabian Nights_by_Wang_Xinyi.pdf]]&lt;br /&gt;
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[[Media:Lecture_The Arabian Nights_by_Wang_Xinyi.pdf]]&lt;/div&gt;</summary>
		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Culture_loaded_words&amp;diff=132268</id>
		<title>Culture loaded words</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Culture_loaded_words&amp;diff=132268"/>
		<updated>2021-12-13T14:50:56Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 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 */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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[[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do list]]&lt;br /&gt;
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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 =&lt;br /&gt;
[[Cult_Load_Words_EN_1]]&lt;br /&gt;
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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&lt;br /&gt;
=== Abstract ===&lt;br /&gt;
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.&lt;br /&gt;
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=== Key Words ===&lt;br /&gt;
Subtitle Translation; Farewell My Concubine; foreignizing method; domesticating method&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
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。&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
字幕翻译；霸王别姬；异化；归化&lt;br /&gt;
=== Introduction ===&lt;br /&gt;
1.1Research Background&lt;br /&gt;
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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.&lt;br /&gt;
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. &amp;quot;Subtitles sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen.&amp;quot; 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.&lt;br /&gt;
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）&lt;br /&gt;
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1.2 Brief Introduction to Farewell My Concubine&lt;br /&gt;
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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.&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
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1.3 Brief Introduction to translator Linda Javin&lt;br /&gt;
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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.&lt;br /&gt;
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=== Analysis the Translation of Culture-loaded Words ===&lt;br /&gt;
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2.1 Introduction to Culture-loaded Words&lt;br /&gt;
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Gonzalez Davies and Scott-Tennent (2008, p.783) put forward a definition of cultural references in detail, which is &amp;quot;expressions (audiovisual, verbal, textual,&lt;br /&gt;
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.&amp;quot; And in China, a scholar defines it as &amp;quot;the words, phrases and idioms that mark the unique things in a culture.&amp;quot; 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）&lt;br /&gt;
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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. &lt;br /&gt;
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2.2 The Features of Subtitles in Farewell My Concubine&lt;br /&gt;
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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. &lt;br /&gt;
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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.  &lt;br /&gt;
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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.&lt;br /&gt;
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2.3 Cases for Analysis&lt;br /&gt;
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2.3.1 Brief Introduction to Translation Strategies&lt;br /&gt;
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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.&lt;br /&gt;
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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 &amp;quot;foreignizing method&amp;quot; and the second method is called &amp;quot;domesticating method&amp;quot;. That is to say, domestication is oriented by target language, while foreignization is oriented by source language.&lt;br /&gt;
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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.&lt;br /&gt;
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2.3.2 Cases of Translation Methods &lt;br /&gt;
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2.3.2.1 Literal Translation&lt;br /&gt;
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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. &lt;br /&gt;
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E.g.1世卿世受国恩&lt;br /&gt;
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岂敢昧法？&lt;br /&gt;
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更不敢当众违背天理良心。&lt;br /&gt;
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The government has always been good to me,&lt;br /&gt;
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I wouldn't dare deceive the court.&lt;br /&gt;
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Nor would I betray the laws of Heaven or my own conscience.&lt;br /&gt;
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“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 &amp;quot;literal translation&amp;quot; principle, Linda brings &amp;quot;Heaven&amp;quot; into her translation. In Christian culture, &amp;quot;Heaven&amp;quot; serves as the source of various moral concepts and systems. &amp;quot;Heaven&amp;quot; and &amp;quot;God&amp;quot; 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.&lt;br /&gt;
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E.g.2磨剪子来，镪菜刀&lt;br /&gt;
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Bring your knives for sharpening? Sharpen your knives.&lt;br /&gt;
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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 &amp;quot;Sharpen your scissors, sharpen your knives&amp;quot; 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.&lt;br /&gt;
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E.g.3什么时候洞房花烛夜啊？&lt;br /&gt;
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What’s the time of Candle-lit-night in the Bridal Chamber?&lt;br /&gt;
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“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.&lt;br /&gt;
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E.g.4横扫一切牛鬼蛇神！&lt;br /&gt;
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Sweep away all Cow Demons and Snake Spirits! &lt;br /&gt;
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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 &amp;quot;Cow Demons and Snake Spirits&amp;quot; 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.&lt;br /&gt;
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2.3.2.2 Free Translation&lt;br /&gt;
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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. &lt;br /&gt;
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E.g.1他祖师爷不肯赏饭吃，谁也没辙。&lt;br /&gt;
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But I have no place for him. What can I do?&lt;br /&gt;
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“祖师爷” is similar to &amp;quot;forefathers&amp;quot; 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 &amp;quot;destiny&amp;quot; &amp;quot;fate&amp;quot; or &amp;quot;god&amp;quot; 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, &amp;quot;destiny&amp;quot; is the most ideal choice to express the original meaning. Considering all these factors, Linda uses the strategy of &amp;quot;free translation&amp;quot; to put it as &amp;quot;I have no place for him&amp;quot; to refuse Little Bean's mother. Thus, she makes the lines easier to understand, and meanwhile, to avoid leading to a cultural misunderstanding.&lt;br /&gt;
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E.g.2今儿个是破题儿，文章还在后头哪！&lt;br /&gt;
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This is just the beginning. Wait till you see what's in store.&lt;br /&gt;
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“破题” once appeared in &amp;quot;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 &amp;quot;the first time&amp;quot;. From the translated version, it's clear that the translation of “破题” as &amp;quot;beginning&amp;quot; exhibits that the subtitle translator, Linda Javin, is quite familiar with the usage of the old Chinese words. &lt;br /&gt;
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E.g.3真他妈想当太太奶奶啦你！&lt;br /&gt;
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做你娘的玻璃梦去吧。&lt;br /&gt;
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你当出了这门，把脸一抹擦，你还真成了良人了？&lt;br /&gt;
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So you want to become a rich man's wife!&lt;br /&gt;
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Go live out this goddamn fantasy' then&lt;br /&gt;
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Don't think that when you walk out this door, you'll become a lady of virtue.&lt;br /&gt;
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“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 &amp;quot;grandmother&amp;quot; &amp;quot;lady&amp;quot; or something like these. Besides, “良” means &amp;quot;good, kind&amp;quot;, but here, “良人” doesn't mean &amp;quot;a good, kind or nice-hearted person&amp;quot;, instead, it refers to the woman who has abandoned prostitution and become a traditional honest and good woman. Linda's translation of &amp;quot;a lady of virtue&amp;quot; is quite authentic and loyal to the original text. &lt;br /&gt;
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E.g.4那么日后踏雪访梅，再谈不迟。&lt;br /&gt;
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Ah, then we shall exchange poetic thoughts some other day.&lt;br /&gt;
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“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.&lt;br /&gt;
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E.g.4这武二郎碰上西门庆，不打，不打能成吗？&lt;br /&gt;
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You know the old story about Pan Jinlian's husband meeting the man who screwed her? Did he have any choice but to fight?&lt;br /&gt;
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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. &lt;br /&gt;
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E.g.5这妞够厉害的呀！&lt;br /&gt;
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What a dragon lady!&lt;br /&gt;
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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 &amp;quot;dragon&amp;quot; in Western countries means more evil than good. Its fierceness and grisly outlooks make people feel uncomfortable. Thus, &amp;quot;a dragon lady&amp;quot; here, on the one hand, can show Ju Xian's courage for true love; on the other hand, the image of &amp;quot;dragon&amp;quot; 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 &amp;quot;dragon&amp;quot; clearly shows her comprehensive  consideration for the complicated circumstance then.&lt;br /&gt;
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E.g.6关师父：各位爷，多捧场了啊! &lt;br /&gt;
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Master Guan: Ladies and gentlemen, enjoy the show!  &lt;br /&gt;
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“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 &amp;quot;Ladies and gentlemen&amp;quot;, 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 &amp;quot;support our show&amp;quot;. However, the English convention has it as &amp;quot;enjoy the show.&amp;quot; The translator thus conforms to target conventions to avoid deviation from audience's &amp;quot;expectancy norms&amp;quot; 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. &lt;br /&gt;
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E.g.7小石头：嗬，够横的你。&lt;br /&gt;
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Shitou: You are really something.  &lt;br /&gt;
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“横” in Beijing dialect means harsh and unreasonable, &amp;quot;Be (quite or really) something&amp;quot; is an informal expression referring to a person or a thing is of consequence. In the above example, the replacement of “横” by &amp;quot;be really something&amp;quot; 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 &amp;quot;You're unreasonable&amp;quot;, it would be too straightforward.&lt;br /&gt;
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2.3.2.3 Generalization&lt;br /&gt;
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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.&lt;br /&gt;
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E.g.1不罚，不罚你永远是下三滥。&lt;br /&gt;
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还想成角？做梦。&lt;br /&gt;
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And if I don't punish you, you'll always be third-rate.&lt;br /&gt;
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You want to be a great actor? Dream on!&lt;br /&gt;
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“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 &amp;quot;the third rate&amp;quot;, 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. &lt;br /&gt;
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E.g.2依我看，只要是唱西皮二黄，它就是京戏。&lt;br /&gt;
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I say if it uses the traditional forms, then it’s the Beijing Opera.&lt;br /&gt;
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&amp;quot;Xipi Erhuang&amp;quot; is a professional term in drama. &amp;quot;Xipi&amp;quot; and &amp;quot;Erhuang&amp;quot; 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 &amp;quot;Xipi&amp;quot; and &amp;quot;Erhuang&amp;quot; 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 &amp;quot;the traditional forms&amp;quot; to give the audience an abstract understanding.&lt;br /&gt;
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E.g.3反正这两杯子也沾上了四旧了&lt;br /&gt;
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Anyway, jade cups were part of the old society&lt;br /&gt;
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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”. &amp;quot;四旧&amp;quot; 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 &amp;quot;Anti-road Construction&amp;quot;, &amp;quot;Dongfeng Store&amp;quot; and &amp;quot;Red Guard War School&amp;quot; , destroying the authority of &amp;quot;bourgeois reactionary academic authorities&amp;quot; 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.&lt;br /&gt;
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E.g.4尘世中，男子阳污，女子阴秽&lt;br /&gt;
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There is foulness in both men and women. &lt;br /&gt;
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This sentence comes from the mouth of Mr Yuan, a drama addict. The word &amp;quot;尘世&amp;quot; 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 &amp;quot;尘世&amp;quot; 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 &amp;quot;阳污&amp;quot; to &amp;quot;man&amp;quot; and &amp;quot;阴秽&amp;quot; to &amp;quot;woman&amp;quot;, the translation will only overlap meaning, resulting the translation not authentic.&lt;br /&gt;
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E.g.5来给师哥勾勾脸&lt;br /&gt;
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Will you give me a hand with my make up?&lt;br /&gt;
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The facial makeup in Peking Opera is a special makeup method. The traditional facial makeup mainly refers to clean facial painting. &amp;quot;勾脸&amp;quot; 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 &amp;quot;make up&amp;quot;.&lt;br /&gt;
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2.3.2.4 Specification&lt;br /&gt;
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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.&lt;br /&gt;
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E.g.1别介，都是下九流谁嫌弃谁啊&lt;br /&gt;
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Don’t be foolish. Prostitutes and actors are equally despised by society.&lt;br /&gt;
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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 &amp;quot;三教九流&amp;quot; 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 &amp;quot;inferior&amp;quot; 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.&lt;br /&gt;
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E.g.2小爷我今儿练的是九转金炉的火丹功。 &lt;br /&gt;
&lt;br /&gt;
I have been practicing Kungfu to keep myself warm.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
2.3.2.5 Omission&lt;br /&gt;
&lt;br /&gt;
Being opposed to &amp;quot;addition&amp;quot;, 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.&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
I'll give you something to look at.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
E.g.2他这一亮相,那台底下听戏的人不都吓跑了。&lt;br /&gt;
&lt;br /&gt;
He would scare off the audience&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;his appearance&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
E.g.3陈:唉，袁四爷今儿个来看戏  &lt;br /&gt;
&lt;br /&gt;
段:没见我盖着唢呐唱吗？把血都挣出来了&lt;br /&gt;
 &lt;br /&gt;
Chen: So, Master Yuan has come to see us tonight.&lt;br /&gt;
&lt;br /&gt;
Duan: I know. I sang so loudly I drowned out the horns. &lt;br /&gt;
 &lt;br /&gt;
“今儿个” is a typical time indicator in Beijing dialect. It usually refers to &amp;quot;today&amp;quot;. In view of the context, it can also be translated as &amp;quot;tonight&amp;quot;. 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 &amp;quot;drive the blood out&amp;quot; and &amp;quot;do very hard&amp;quot; in the real sense. &amp;quot;I sang so loudly&amp;quot; is added to facilitate understanding. The translator also makes efforts to find the most understandable way from the target culture.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
3.1 The Conclusion&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
3.2 Advice &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;domestication&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
===References ===&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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）.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =&lt;br /&gt;
[[Cult_Load_Words_EN_2]]&lt;br /&gt;
&lt;br /&gt;
谢庆琳 Xie Qinglin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=== Abstract ===&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== Key Words ===&lt;br /&gt;
Russian Culture-loaded Words; Translation Principles; Translation Strategies&lt;br /&gt;
&lt;br /&gt;
=== 题目 分析俄语文化负载词的中文翻译 ===&lt;br /&gt;
&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
&lt;br /&gt;
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。 &lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
俄语文化负载词；翻译原则；翻译策略&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== Introduction ===&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== Culture-loaded Words ===&lt;br /&gt;
&lt;br /&gt;
==== Definition of Culture-loaded Words ====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;national cultural accumulation&amp;quot;, that is, cultural connotation. This article is an analysis of Russian cultural-loaded words, reflecting mostly about the Russian national culture.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==== Classification of Culture-loaded Words ====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== Translation Principles and Strategies of Russian Culture-loaded Words ===&lt;br /&gt;
&lt;br /&gt;
==== Translation Principles of Russian Culture-loaded Words ====&lt;br /&gt;
&lt;br /&gt;
===== The Principle of Faithfulness to the Original Text =====&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
In the passage of «Судьба Человека»: &amp;quot;… а я уже на ничьей земле между воронками петляю не хуже зайца&amp;quot; (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.&lt;br /&gt;
If we do not take into account the author's real intention and turn it into &amp;quot;no less than a timid rabbit&amp;quot;, we are not being faithful to the original text, but rather making a faux pas. Therefore, this sentence&lt;br /&gt;
should be translated as &amp;quot;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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===== Contextual Principal =====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;powerful&amp;quot; and sometimes means &amp;quot;heavy&amp;quot;. 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.&lt;br /&gt;
&lt;br /&gt;
===== Principle of Appropriateness of Explicit and Implicit =====&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
For example, in Russian,“кричать во всю Ивановскую” literally means &amp;quot;shouting at Ivan Square&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
==== Translation Strategies of Russian Culture-loaded Words ====&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;direct translation (phonetic translation) plus annotation&amp;quot;, &amp;quot;direct translation with free translation&amp;quot; and &amp;quot;free translation&amp;quot; for cultural-loaded words and so on.&lt;br /&gt;
&lt;br /&gt;
====== Direct Translation (Phonetic Translation) plus Annotation ======&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Sarah&lt;br /&gt;
A&amp;quot; with a note stating that the sarafan is a traditional Russian folk dress without sleeves.&lt;br /&gt;
&lt;br /&gt;
====== Direct Translation with Free Translation ======&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;колосс на глиняных ногах&amp;quot; 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 &amp;quot;giant with feet of clay&amp;quot; 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: &amp;quot;Мы видим, что империализм, который казался таким непреодолимым колосом, казался на глазах у всех колоссом на глиняных ногах.&amp;quot; (刘永红：2002) The whole sentence should be translated as &amp;quot;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.&lt;br /&gt;
&lt;br /&gt;
===== Free Translation =====&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;китайская грамота&amp;quot; literally means &amp;quot;Chinese word&amp;quot;, &amp;quot;Chinese character&amp;quot;, 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 &amp;quot;heavenly book, incomprehensible, inexplicable thing&amp;quot;. “Для него это китайская грамота” translates as &amp;quot;He doesn't know anything about it&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
=== The Translation Difficulties of Russian Culture-loaded Words ===&lt;br /&gt;
&lt;br /&gt;
==== Translatability of  Culture-loaded Words in Russian ==== &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==== Factors Affecting the Translation of Culture-loaded Words in Russian ====&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;look at things and take images&amp;quot;, 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 &amp;quot;jianghu&amp;quot; as an example. &amp;quot;Jianghu&amp;quot; is another new word with changed connotation and extension, which is composed of the concepts of &amp;quot;river&amp;quot; and &amp;quot;lake&amp;quot;. The word &amp;quot;jianghu&amp;quot; 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 &amp;quot;jianghu&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
&lt;br /&gt;
There is a growing awareness that language is just an international communication tool&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Barkhudarov L. S. Language and translation. (1975) Questions of the general and private theory of translation[M]. Moscow: International relations.&lt;br /&gt;
&lt;br /&gt;
Kozhin A. N. (1982) Functional types of Russian speech. [M]. Moscow: Vysshaya shkola.&lt;br /&gt;
&lt;br /&gt;
Rosenthal D.E. (1987) Practical stylistics of Russian language. [M]. Moscow: Vyssnaya shkola.&lt;br /&gt;
&lt;br /&gt;
Fedorov A. V. (2002) Fundamentals of the general theory of translation. [M]. Moscow: High School.&lt;br /&gt;
&lt;br /&gt;
Yuriev A. N. (2005) Types and styles of speech. [M]. Moscow: Almaty.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=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 =&lt;br /&gt;
[[Cult_Load_Words_EN_3]]&lt;br /&gt;
&lt;br /&gt;
=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=&lt;br /&gt;
[[Cult_Load_Words_EN_4]]&lt;br /&gt;
&lt;br /&gt;
=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=&lt;br /&gt;
[[Cult_Load_Words_EN_5]]&lt;br /&gt;
&lt;br /&gt;
=== Abstract ===&lt;br /&gt;
Based on the ecological translation theory, this article takes Yang Xianyi and Dai Naidie’s translation of cultured loaded words in Dou E Yuan, a drama in Yuan Dynasty, as the research object, and analyze how the translators deliver the culture information to the foreign readers in terms of language dimension, culture dimension and communication dimension to promote the valid dissemination of drama culture in English-speaking countries. Also this article hopes to provide an effective reference for the current drama translation by analyzing the merits and deficiencies of Yang and Dai’s Translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words ===&lt;br /&gt;
Culture loaded words; Ecological translation theory; Drama&lt;br /&gt;
&lt;br /&gt;
=== 题目 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 ===&lt;br /&gt;
&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
本文基于生态翻译学理论，以元代戏剧、杨宪益和戴乃迭译本《窦娥冤》中的文化负载词为研究对象，探究译者如何从语言维、文化维和交际维对戏剧中文化负载词进行翻译，并把这些词所承载的文化信息有效地传递给目标受众，以促进元代杂剧文化在英语国家的有效传播。本文也同时希望通过分析杨戴译本的优缺点给当前的戏剧翻译提供有效的参考。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
文化负载词；生态翻译学理论；戏剧&lt;br /&gt;
&lt;br /&gt;
=== Introduction ===&lt;br /&gt;
==== Background ====&lt;br /&gt;
Chinese drama is the artistic treasure of Chinese classical culture and an important part of Chinese culture. In order to make the Chinese drama culture go out and let more foreign readers appreciate it, translation plays a very key role as a communicating bridge. However, due to the complexity of drama language and its historical culture, drama translation is difficult. To convey its original culture connotations as much as possible, an appropriate translation strategy is required. At present, there are many translation theories. This article chooses to study Yang Xianyi and Dai Naidie’s translation of Dou E Yuan based on the ecological translation theory for two reasons. First, Yang Xianyi and Dai Naidie are excellent translators and they are good at translating traditional Chinese works. Doing research on their translations can make us learn a lot from them. Second, drama translation readers are not only the text readers, but also the directors, actors and audiences, so the translator needs to consider how to properly deal with the drama translation elements in the ecological environment. In this way, the ecological translation is necessary when we are translating dramas. &lt;br /&gt;
&lt;br /&gt;
==== Relevant basic concepts ====&lt;br /&gt;
1. Culture loaded word &lt;br /&gt;
&lt;br /&gt;
Culture loaded words, also known as unique culture words and culture connotation words, are the words or phrases that indicate things and concepts which belong to a certain culture. They only exist in a certain culture and can’t be found in another culture. According to the classification of Eugene A. Nida, culture loaded words can be roughly divided into five types, which are the ecological words, material words, social words, religious words and linguistic culture words.&lt;br /&gt;
&lt;br /&gt;
2. Dou E Yuan &lt;br /&gt;
&lt;br /&gt;
Dou E Yuan is a representative Yuan miscellaneous drama written by Guan Hanqing, and it’s also a model of Yuan miscellaneous drama tragedies. It is based on the folk story of Filial Women in the East China Sea in the Eastern Han Dynasty. And it is very popular with people of that time and has high value in the culture aspect. About 86 dramas have adapted from it. In the aspect of art, it reflects the integration of realism and romantic style. With rich imagination, bold exaggeration and the design of the surreal plot, it shows the huge power of justice, embodies the author's distinct love and hate, and reflects the people’s desire to punish the evildoers and fulfill the justice.&lt;br /&gt;
&lt;br /&gt;
3. Structure of the study&lt;br /&gt;
&lt;br /&gt;
This study is comprised of five parts, which are the introduction, literature review, theoretical basis, body and conclusions. In the introduction part, the background and the relevant basic concepts are introduced to help readers understand this article better. In the literature review part, this article will review the domestic research on the translations of Chinese dramas. In the theoretical basis part, I will introduce the ecological translation theory, including its definition and its three dimensions——language dimension, the culture dimension and the communication dimension. In the body part, the English translation of Dou E Yuan is analyzed in terms of those three dimensions. This study will choose some typical examples to analyze, which comes from the translation of Yang Xianyi and Dai Naidie. In the end, the conclusions and suggestions will be proposed based on the analysis in the Part four. &lt;br /&gt;
&lt;br /&gt;
4. Significance of the study&lt;br /&gt;
&lt;br /&gt;
This study has significance both in theory and practice. In the theory aspects, this study will fill the blank of the research on English translation of Dou E Yuan in terms of ecological translation theory. In the practice aspect, this study may promote the application of ecological transition theory in more translations. I also hope it can delight translators in translating dramas.&lt;br /&gt;
&lt;br /&gt;
=== Literature review ===&lt;br /&gt;
&lt;br /&gt;
In terms of the domestic researches, I find that domestic researches mainly concentrate on three aspects: 1) Analyze translations based on some theories, such as functional translation theory, ecological translation theory, rewriting theory, teleology and correlation theory（林阿立 2021；王醒醒 2014；黄志芳 2014；褚雪琪 2020）. 2) Analyze the current problems in translations（孟伟根 2009；吕世生等2015）. 3) Study some famous translators’ styles of translating, such as Ying Ruocheng, Yu Guangzhong, Wang Zuoliang（程瑞勇 2007；黎昌抱 2008；陈瑶瑶 2019）. From the researches above, we can see there are lots of scholars doing studies on translations based on various theories, including the ecological translation theory. So I search “Dou E Yuan” on CNKI to see if there are scholars have done studies on the translation of Dou E Yuan based on ecological translation theory. However, there is only one paper related to the ecological translation theory. And it just does the research in terms of culture dimension and doesn’t fully apply the theory. In this way, this article may have a value of reference in some degree by make a complete analysis of Dou E Yuan based on ecological theory and help us learn from Yang and Dai’s translation strategies.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical basis ===&lt;br /&gt;
&lt;br /&gt;
Ecological translation was put forward by Professor Hu Gengshen of Tsinghua University. He combined Darwin's basic principles of &amp;quot;natural selection&amp;quot; with the translation research work, and creatively put forward the view that &amp;quot;translators should adapt to the translation ecological environment and accept the control of the translation ecological environment&amp;quot;. He believes that &amp;quot;translation is an activity in which translators should adapt to and select the translation ecological environment&amp;quot;. This definition of the translation makes the translators be in the center during the translating process. He also advocates that translators should give full play to their subjective initiative and focus on the three dimensions, which are language, culture and communication. Here are the detailed introductions of these three important dimensions in ecological translation. &lt;br /&gt;
&lt;br /&gt;
1. Language adaptability&lt;br /&gt;
&lt;br /&gt;
The language dimension translation of culture loaded words requires the real translation environment to be included into the target translation text. Translators should make effective conversions between the word pronunciation and semantic, word collocation, grammar structure and discourse layout to ensure that the translation can accurately convey the real meaning of the culture loaded words from the source language, and make them adapt to the expression habits of the target language utmost。&lt;br /&gt;
&lt;br /&gt;
2. Culture adaptability&lt;br /&gt;
&lt;br /&gt;
The culture dimension translation of culture loaded words requires the translator to compare and analyze the culture backgrounds and connotations of the source language and target language to realize the effective conversions between culture connotations which are from different culture backgrounds and to prevent the occurrence of culture misunderstanding or culture ambiguity phenomenon.&lt;br /&gt;
&lt;br /&gt;
3. Communication adaptability&lt;br /&gt;
&lt;br /&gt;
The communication dimension translation of culture loaded words requires the translator to translate in terms of objective, true and accurate translation principles and effectively convey what the original author or discourse speaker intends to express emotional attitude and communication information to achieve the real communication utility.&lt;br /&gt;
&lt;br /&gt;
From the introduction above, we can see that ecological translation requires the translator, also the center, to make a comprehensive analysis of translation adaptation conditions and conduct valid conversions between the three dimensions to achieve a good effect in translations, which is challenging for translator but meaningful for translation.&lt;br /&gt;
&lt;br /&gt;
=== Multi-dimensional analysis of English translation of Dou E Yuan ===&lt;br /&gt;
&lt;br /&gt;
Ecological translation theory requires translators to have a good comprehension of those three dimensions and make proper conversions between them. Yang and Dai are famous translators in the world. They have translated many ancient Chinese literary works, including novels, proses, dramas and so on, which are widely and highly praised. Dou E Yuan is one of them. Below, we will use the ecological translation theory to analyze it. Hope that we can learn from them, but also can make some advice about the deficiencies meanwhile.&lt;br /&gt;
&lt;br /&gt;
==== Adaptive selection of language dimension ====&lt;br /&gt;
&lt;br /&gt;
Adaptive selection of language dimension requires translators to make adaptive conversions in language level when translating. The most basic part of the adaptive selection is the word meaning conversion. However, the word meaning conversion is not a &amp;quot;word to word conversion&amp;quot; in the traditional sense, but needs the translator to adapt to the language characteristics of the source works when translating, and then selectively reflect them in the translation. Let's take a look at Yang and Dai's handling of Dou E Yuan text based on the language dimension.&lt;br /&gt;
&lt;br /&gt;
  Example1: ''莫不是八字儿该载着一世忧？''&lt;br /&gt;
  Is it my fate to be wretched all my life?&lt;br /&gt;
&lt;br /&gt;
“八字”is an eight-word method of traditional numerology in ancient China. From the perspective of traditional numerology, it can deduce the development direction of people's life, which is unchangeable. Yang and Dai translates “八字”into “fate”, which means “the power that is believed to control everything that happens and that cannot be stopped or changed”. We can see these two meanings are similar. In this way, foreign readers can understand the translation text better.&lt;br /&gt;
&lt;br /&gt;
  Example2: ''我当初将你嫁与他家呵，要你三从四德。三从者：在家从父，出嫁从天，夫死从子；四德者：事翁姑，敬夫主，和妯娌，睦街坊，此乃为之 &lt;br /&gt;
  四德。今乃三从四德全无，刬地犯了十恶大罪。常言道，事要前思，免劳后悔。我窦家三辈无犯法之男，五世无再婚之女。''&lt;br /&gt;
  When I married you to the widow’s son, I expected you to observe the Three Duties and Four Virtues. The Three Duties are obedience to &lt;br /&gt;
  your father before marriage, obedience to your husband after marriage, and obedience to your son after your husband’s death. The Four &lt;br /&gt;
  Virtues are to serve your parents-in-law, to show respect to your husband, to remain on good terms with your sisters in-law, and to &lt;br /&gt;
  live in peace with your neighbors. But regardless of your duties, you have committed the gravest crime of all! The proverb says: Look &lt;br /&gt;
  before you leap, or you may be sorry too late. For the generations no son of our clan has broken the law; for five generations no &lt;br /&gt;
  daughter has married again.&lt;br /&gt;
&lt;br /&gt;
In China, “三从四德” refers to the moral standards that restrict women by feudal ethics. Yang and Dai translates “三从四德” to &amp;quot;Three Duties and Four Virtues&amp;quot; and “从” to &amp;quot;duties&amp;quot;, which realizes a very appropriate conversion in language dimension. According to the Oxford dictionary, the &amp;quot;duty&amp;quot; means “something that you feel you have to do because it is your moral or legal responsibility”, which is similar to the meaning of “从”——women have to comply with their father, husband and son based on moral standards. So Yang and Dai make a good conversion between these two words and make it easier for readers to grasp the meaning of “三从四德”.&lt;br /&gt;
&lt;br /&gt;
  Example3: ''道可道，非常道。名可名，非常名。''&lt;br /&gt;
  The law that can be told is not the invariable law; the names that can be named are not invariable names.&lt;br /&gt;
&lt;br /&gt;
In my opinion, translating “道”into “law” is not appropriate. “道”in China refers to “the essence of the universe”, which reflects Chinese traditional Taoism. However, law in English means “the whole system of rules that everyone in a country or society must obey”. They don’t have the same meaning and the latter doesn’t have any religious meaning. So it’s difficult for foreign readers to understand this word. I suggest that maybe we can just translate “道”into “Dao” and add some explanations to it. In this way, it’s not only easy for foreign readers to understand the text but also make them know some knowledge about Taoism.&lt;br /&gt;
&lt;br /&gt;
==== Adaptive selection of culture dimension ====&lt;br /&gt;
&lt;br /&gt;
The adaptive selection of culture dimension requires translators to be of a high translation level. Translators should not only have a good understanding of the local culture, but also be familiar with the language and culture of the translation. Then, they should fully understand the culture differences between the two. In this way can the original culture connotation of the text be conveyed to foreign readers as much as possible. Let's look into Yang and Dai's translation of Dou E Yuan text based on the culture dimension.&lt;br /&gt;
&lt;br /&gt;
  Example4: ''窦娥冤''&lt;br /&gt;
  Snow in midsummer&lt;br /&gt;
&lt;br /&gt;
Instead of translating the title “窦娥冤” into Dou E Yuan directly, Yang and Dai use words with Chinese culture connotation to express it. &amp;quot;Snow in midsummer&amp;quot; in traditional Chinese culture means that there are mistrials, which is also one of the plots of Dou E Yuan. If they adopt the direct translation method and translate “冤”into “injustice”, the title may lose the culture connotation and can’t relate to the plot closely. Therefore, the translator adopts this translation method is to try his best to convey the culture connotation, so that readers can have more understanding of Chinese traditional culture.&lt;br /&gt;
&lt;br /&gt;
  Example5: ''那一个似孟光般举案齐眉？''&lt;br /&gt;
  Or like Meng Guang，who showed such respect to her husband?&lt;br /&gt;
&lt;br /&gt;
“举案齐眉”is a four-character idiom in Chinese that describes husband and wife who respect and love each other. Yang and Dai adding &amp;quot;showed such respect to her husband&amp;quot; in the translation can help readers understand the meaning of this idiom easier and more clearly.&lt;br /&gt;
&lt;br /&gt;
  Example6: ''你去那受刑法尸骸上列些纸钱，看你那化去孩儿面。''&lt;br /&gt;
  Burn some paper coins to my headless corpse, For the sake of your dead son.&lt;br /&gt;
 &lt;br /&gt;
“纸钱”is a product of Buddhism after it was brought into China. It refers to a kind of ghost coins which is used in folk to worship ghosts, gods and the dead. This custom of burning paper money originated in the Wei, Jin, Northern and Southern dynasties, flourished in the Tang and Song dynasties, and passed down to today. The translation &amp;quot;paper coins&amp;quot; appears to be the same with the meaning of original text, but it does not reflect the Buddhist ideas. So foreign readers may not get the culture connotations of “纸钱”. So translators should make some explanatory notes about it to convey the precise meaning of “纸钱”。&lt;br /&gt;
&lt;br /&gt;
  Example7: ''那里有走边廷哭倒长城？那里有浣纱时甘投大水？那里有上山来便化顽石？'' &lt;br /&gt;
  Where is the woman whose tears for her husband Caused the Great Wall to crumble? Where is she who left her washing And drowned herself &lt;br /&gt;
  in the stream? Where is she who is changed into stone Through longing for her husband?&lt;br /&gt;
&lt;br /&gt;
  Example8: ''这婆娘心似风刮絮，那里肯身化作望夫石，旧恩情倒不比新佳配。他则百年为婚眷，那里肯千里送寒衣?'' &lt;br /&gt;
  Now her heart is like a willow seed in the breeze, Not steadfast as a rock. Old love is nothing to new love: She wants to live with &lt;br /&gt;
  this new man for ever, Without a thought for the other man far away. &lt;br /&gt;
&lt;br /&gt;
The two examples include four allusions, one is Meng Jiangnv crying on the Great Wall; the other is in the Spring and Autumn Period, Wu Zixu fled out of the Zhaoguan and felt very hungry. Then a woman who was washing her clothes gave him a bun. Wu told the woman his real name, but after a while, he was also afraid that the woman would tell others. Seeing Wu’s suspicion, the woman threw herself into the river to commit suicide. The third is a legend, which is about a faithful woman whose husband left to join the army, then she went to the northern mountain of Wuchang with her weak son, looking over for her husband and turning into a stone. The last allusion is Meng Jiangnv walked for thousands of miles to send her husband winter clothes. The four allusions with abundant culture connotations reflect the profound Chinese culture and history. It can be seen from the translation, Yang and Dai have made great efforts and attempts to try to restore the story behind the allusion. However, in order to meet foreign readers’ needs to have a deep understanding of Chinese culture, it is recommended to provide a more detailed explanation.&lt;br /&gt;
&lt;br /&gt;
  Example9: ''枉着你烦恼没理会，人生死是轮回。'' &lt;br /&gt;
  It’s no use grieving for him; all mortal men must die when their time is up.&lt;br /&gt;
&lt;br /&gt;
  Example10: ''莫不是前世里烧香不到头，这前程事一笔勾。劝今世早将来世修。''Did I burn too little incense in my last life, that my &lt;br /&gt;
  marriage was unlucky? We should all do good betimes.&lt;br /&gt;
&lt;br /&gt;
  Example11: ''我才看头一宗文卷，就与老夫同姓；这药死公公的罪名，犯在十恶不赦。''&lt;br /&gt;
  Curious that the first culprit’s surname should be the same as mine! To murder one’s father-in-law is one of the unpardonable &lt;br /&gt;
  crimes. &lt;br /&gt;
&lt;br /&gt;
The three examples above reflect Buddhist thought. In the example 9, “轮回”also known as “流转” and “轮转”, means that human live and then die, die and then live, all life and death are not the end. It is just like the wheel rotation which never stops cycling. The concepts of “前世” and “今生” are derived from this. However, Yang and Dai don’t express this meaning in the translation. In the example10, “烧香” is a ritual in Buddhism. People ignite the incense and insert it in the incense burner to express their sincere respect to Buddha when they are in worship. Yang and Dai don’t explain the meaning of “烧香”to the readers, which may make the readers feel confused of it. In example 11, “十恶”, a term in Buddhism, refers to ten evil behaviors that would be punished by the hell, hungry ghosts and beasts. Similarly, Yang and Dai don’t make a detailed explanation about it. It will be difficult for foreign readers to understand these words with profound culture connotations. So I think translators should pay more attention to the culture words when translating and try to make good conversions.&lt;br /&gt;
&lt;br /&gt;
  Example12: ''门神户尉不放我进去。我是廉访使窦天章女孩儿。因我屈死，父亲不知，特来托一梦与他咱。''&lt;br /&gt;
  Now the door-gods will not let me pass. I am the daughter of Inspector Dou. Though I died unjustly, my father does not know it; so I &lt;br /&gt;
  have to come to visit in his dreams.&lt;br /&gt;
&lt;br /&gt;
  Example13: ''若说的有半厘差错，牒发你城隍祠内，我着你永世不得人身，我把你罚在阴山永做饿鬼。'' &lt;br /&gt;
  If you utter one false world, I shall send you to the tutelary god; then your spirit will never re-enter human form, but remain a &lt;br /&gt;
  hungry ghost forever in the shades. &lt;br /&gt;
&lt;br /&gt;
The two examples above all reflect the Taoist thought. In example12, “门神护尉” is the official of the hell.“托梦”, in Taoist and folk beliefs, means that if ghosts and gods want to express something, they can appear in people's dreams and tell them, or tell them in the form of various scenes and predict good or bad fortune.“阴山” and “城隍寺” are the names of the locations in the hell. In the above translation, Yang and Dai follow the communicative ethics, but the &amp;quot;tutelary god&amp;quot; does not seem to correspond in the original text, and the connotation of &amp;quot;god&amp;quot; is far from the concept of Chinese Taoist &amp;quot;emperor&amp;quot;. So I think Yang and Dai should not only make conversions between words, but also add some background knowledge about those words for a better understanding for readers.&lt;br /&gt;
&lt;br /&gt;
  Example14: ''自家赛卢医''&lt;br /&gt;
  I am Doctor Lu  &lt;br /&gt;
&lt;br /&gt;
“卢医” represents Bian Que here, a famous doctor in ancient China.“赛卢医” means that he is boasting his medical skill which even can be comparable to Bian Que. However, foreign readers do not know the story of Bian Que. So if it is translated literally, it will not be understood by readers. Yang and Dai omit the “赛” and only translated it as &amp;quot;Dr. Lu&amp;quot;, which would inevitably destroy the aesthetic connotation and artistic tension of the original work. Maybe Yang and Dai can introduce Bian Que appropriately so that readers are able to know exactly what “赛卢医” means.&lt;br /&gt;
&lt;br /&gt;
==== Adaptive selection of communication dimension ====&lt;br /&gt;
&lt;br /&gt;
In the actual translation process, except to considering about the transmission of culture connotation and the transformation of language information, translators should also focus on the adaptive selection of communication dimension. And they should pay attention to whether the communicative intention in the original text is reflected in the translation. Language is an important tool to realize the communicative intentions of both sides, and translation is an important means to achieve &amp;quot;cross-language, culture and temporal communication&amp;quot;. In translating dramatic culture load words, translators should not only realize the culture value and meaning of such words, but also realize their communicative intentions.&lt;br /&gt;
&lt;br /&gt;
  Example14: ''相公，他是告状的，怎生跪着他。''&lt;br /&gt;
  Your honor, this is a citizen who’s come to ask for justice. Why should you kneel to him?&lt;br /&gt;
  Example15: 小人是原告张驴儿便是，告媳妇儿合毒药药死俺老子，望大人与孩儿做主。&lt;br /&gt;
  I am the plaintiff. I accuse the young woman, Dou E, of poisoning my father with soup. Let justice be done. Your honor!&lt;br /&gt;
&lt;br /&gt;
There is a difference between Chinese and western officialdom culture. In China, there are many names for different officials, while in western countries, they can only use the words &amp;quot;Your Honor&amp;quot; or &amp;quot;His or Her Excellency&amp;quot;. So translating“相公”and “大人”as “Your honor” is very proper here, which is easy for English readers to understand. It’s no need to convey the connotation of the official names, which would make the translation more complex.&lt;br /&gt;
&lt;br /&gt;
  Example16: ''既将你出嫁从夫，便学习廉耻仁义。全不思九烈三贞，到犯了十恶大罪。''&lt;br /&gt;
  As a married woman, you should have studied the propriety and morality, but instead you penetrated the most terrible crime.&lt;br /&gt;
&lt;br /&gt;
“九烈三贞” is an idiom, and is also the moral standard that restricts women in ancient China. The feudal society used it to praise women of the chastity. Yang and Dai translate it as &amp;quot;the propriety and morality&amp;quot;, and do not translate the numbers “九” and “三”, which is a good translation. Because “九” and “三”here are not actual numbers, but represent a broad concept. So there is no need to translate it into &amp;quot;nine kinds of proprieties&amp;quot; and &amp;quot;three kinds of&amp;quot; moralities &amp;quot;.Translating in this way not only makes the text more concise, but also facilitates the readers to understand it.&lt;br /&gt;
&lt;br /&gt;
=== Conclusions ===&lt;br /&gt;
&lt;br /&gt;
Based on the ecological translation theory, I analyze Yang Xianyi and Dai Naidie's translation of Dou E Yuan from the three basic principles of ecological translation theory —— language, culture and communication dimension to learn Yang and Dai’s skills for translating culture loaded words. I also boldly point out the inappropriate translation and put forward suggestions based on my own limited knowledge. As we can see from the above analysis, a good translation must comprehensively consider the three dimensions of language, culture and communication and make adaptive selections between them. In terms of language dimension, translators should find the corresponding words in the translation culture to replace the words in the original text without destroying the original meaning. In culture dimension, translators can introduce the background of culture loaded words by adding annotations, tail notes or in other ways to make readers understand the culture connotations behind the words, and then understand the connotation of the whole discourse better. In communication dimension, translators are required to pay attention to the communicative function of the words and convey the communicative intention of the original text. They should not blindly pay attention to the meanings, which will make the text more complicated and make readers confused. The three dimensions are interrelated and also indispensable. Based on these three dimensions, translators should actively adapt to the different ecological environments of translation, and flexibly choose the translation methods, so as to effectively convey the traditional Chinese drama culture to foreign readers and promote the effective dissemination of Chinese drama culture.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida.(2001). Language, culture and translating. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Yang Yun 阳赟.(2012).适应与选择——《窦娥冤》英译文化维适应性探究[Adaptation and selection of —— Study on English translation of Dou E Yuan in terms of culture adaptability]. 辽宁医学院学报(社会科学版) Journal of Liaoning Medical College (Social Sciences Edition),(4)128-130.&lt;br /&gt;
&lt;br /&gt;
Jiang Xiaoping, Luo Yun蒋晓萍,罗云.(2020).生态翻译学视域下中国饮食文化负载词翻译研究——以《世说新语》英译本为例[Study on culture loaded words of Chinese food under the horizon of ecological translation theory——take the English translation of Shi Shuo Xin Yu as an example].广州大学学报(社会科学版) Journal of Guangzhou University (Social Sciences Edition),(5)54-61.&lt;br /&gt;
&lt;br /&gt;
YangXianyi, Dai Naidie杨宪益,戴乃迭.(2001).关汉卿杂剧选(一) ［Guan Hanqing miscellaneous drama selection(1)］.Beijing: Foreign language Press外文出版社.&lt;br /&gt;
&lt;br /&gt;
YangXianyi, Dai Naidie杨宪益,戴乃迭.(2001).关汉卿杂剧选(二) ［Guan Hanqing miscellaneous drama selection(2)］. Beijing: Foreign language Press外文出版社.&lt;br /&gt;
&lt;br /&gt;
Wang Mengnan王梦楠.(2015).《窦娥冤》文化缺省现象分析[Analysis of the culture deficiency of Dou E Yuan].浙江工业大学学报(社会科学版) Journal of Zhejiang University of Technology (Social Science Edition),(3)340-344.&lt;br /&gt;
&lt;br /&gt;
Lin Ali林阿立.(2021)功能翻译理论视角下的中国传统戏曲翻译[Translation of traditional Chinese opera from the perspective of functional translation theory].哈尔滨学院学报Journal of Harbin College,(8)106-109.&lt;br /&gt;
&lt;br /&gt;
Wang Xingxing王醒醒.(2014).改写理论视角下的戏剧翻译研究[Study on dramatic translation from the perspective of rewriting theory].Jiangsu: Nanjing Normal University南京师范大学.&lt;br /&gt;
&lt;br /&gt;
Huang Zhifang黄志芳.(2014).目的论视角下的中国古典戏剧翻译研究[Research on the translation of Chinese classical drama from the view of objective theory].Jiangxi: Finance and Economics University Of Jiangxi江西财经大学.&lt;br /&gt;
&lt;br /&gt;
Chu Xueqi褚雪琪.(2020).从关联理论视角看戏剧翻译的可表演性[See the performability of drama translation from the perspective of association theory].Beijing: China University of Geosciences (Beijing)中国地质大学(北京).&lt;br /&gt;
&lt;br /&gt;
Meng Weigen孟伟根.(2009).论戏剧翻译研究中的主要问题[On the main problems in the study of drama translation].外语教学Foreign Language Teaching,(3)95-99.&lt;br /&gt;
&lt;br /&gt;
Lv Shisheng, Hu Yinpeng吕世生,胡茵芃.(2015).中国戏剧对外翻译的目标语文化接受问题[Target reader’s reception of translated versions of Chinese theater].中国社会科学院研究生院学报Journal of the Graduate School of the Chinese Academy of Social Sciences,(5)110-114.&lt;br /&gt;
&lt;br /&gt;
Cheng Ruiyong程瑞勇.(2007).英若诚及其戏剧翻译研究[Study on Ying Ruocheng and his drama translation].Shandong: Shandong University山东大学.&lt;br /&gt;
&lt;br /&gt;
Li Changbao黎昌抱.(2008).王佐良翻译风格研究[Research on Wang Zuoliang's translation style].Shanghai: Shanghai International Studies University上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶.(2019).余光中戏剧翻译研究[Study on drama translation ofYu Guangzhong].Shanxi: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
=6 杜莉娜 On the Translation of Culture-loaded Words in Chinese Tourism Texts from the Perspective of Intercultural Communication—Exemplified by Zhangjiajie=&lt;br /&gt;
[[Cult_Load_Words_EN_6]]&lt;br /&gt;
&lt;br /&gt;
=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =&lt;br /&gt;
[[Cult_Load_Words_EN_7]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Language is the carrier of culture, and the characteristics of language also reflect the characteristics of culture. Culture is closely related to language. In-depth understanding and exploration of culture is conducive to language learning and better use of language for communication. Idiom as a fixed structure in language expression, with profound cultural connotation, is an important part of a national culture. Russian idioms are the concentration of the essence of Russian national culture, including Russian history, religion, national thinking, cultural customs, local customs and other unique national characteristics. In the process of language development, each nation has accumulated its own unique culture-loaded words. These words are loaded with the unique cultural connotation of this nation and express the rich cultural color of this nation. Due to different cultural backgrounds and historical development tracks, Russian contains many words, phrases and idioms that represent unique things in Russian culture. From the perspective of Nida's cultural classification, this paper analyzes the Chinese translation of culture-loaded words in Russian idioms, which is helpful to promote the study of Russian language and deepen the understanding of Russian traditional culture and Russian national psychology.&lt;br /&gt;
===Key words===&lt;br /&gt;
Culture-loaded Words; Russian idioms; Russian culture&lt;br /&gt;
=== 题目 ===&lt;br /&gt;
俄语成语中文化负载词的中文翻译分析&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
语言是文化的载体，语言的特性同时也体现了文化的特性，文化与语言紧密相关。对文化的深入了解和探究有助于语言的学习和更好的运用语言进行交际。成语作为固定的结构存在于语言表达中，具有深刻的文化内涵，是一个民族文化的重要表现部分。俄语成语是俄罗斯民族文化精华的浓缩，其中包含俄罗斯历史、宗教、民族思维、文化习俗、风土人情等特有的民族特点。语言发展的进程中，每个民族都积累了本民族特有的文化负载词。这些词语负载着本民族独特的文化内涵，表现本民族丰富的文化色彩。由于不同的文化背景和历史发展轨迹，俄语中包含许多代表俄罗斯文化中特有事物的词、词组和习语。本文以奈达的文化分类为视角，分析俄罗斯成语中文化负载词的中文翻译，有助于促进对俄罗斯语言的学习，进一步加深对俄罗斯传统文化及俄罗斯民族心理的了解。&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
文化负载词；俄语成语；俄罗斯文化&lt;br /&gt;
===Introduction===&lt;br /&gt;
Nowadays, with the sound development of relations between China and Russia and the deepening of exchanges in all aspects, a better understanding of Russian culture can further strengthen bilateral exchanges and cooperation. Culture-loaded words are words, phrases and idioms that mark the unique things in a certain culture. They directly reflect the unique activities of a particular nation that have been gradually accumulated in the long historical process and are different from other nations. At the lexical level, cultural differences between the two countries are reflected in culture-loaded words. Idioms, as the essence of language, contain rich cultural connotations, reflect national character and reflect social changes. The analysis of the Chinese translation of culture-loaded words in Russian idioms can help us trace the origin of Russian culture, go deep into the core of Russian culture, and explore the significance of Russian culture. According to Nida's classification of language and cultural characteristics, this paper tries to have a deep understanding of Russian culture and make tiny contributions to cross-cultural communication and translation through the analysis of Chinese translation of culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
===1.The meaning of culture-loaded words===&lt;br /&gt;
Culture-loaded words are the cultural labels of a nation, which have distinct cultural characteristics and play an important role in the development and dissemination of culture. Liao Qiyi said, &amp;quot;Culture-loaded words refer to words, phrases and idioms that mark things unique to a certain culture. These words reflect the unique activities of a particular ethnic group that have gradually accumulated in the long course of history and are different from other ethnic groups.&amp;quot;When some foreign words are translated into Chinese, they cannot find their exact corresponding or equivalent words, thus forming culture-loaded words. Culture-loaded words are also called culture-unique words and culture-connotation words. They are deeply marked by the region and times of a certain language society, and are words (phrases) expressing the things and concepts peculiar to a certain culture. Such words not only carry rich cultural connotations, but also &amp;quot;exist only in one culture and are blank in another culture&amp;quot;. Just because I have characteristics that you do not have, they are often obstacles to cross-cultural communication and translation.&lt;br /&gt;
&lt;br /&gt;
===2. Classification of culture-loaded words===&lt;br /&gt;
According to Nida's classification of cultural factors, culture-loaded words can be divided into five categories. The first category is ecological culture-loaded words, which usually refer to the plants and animals, geographical environment, climate change and other related words in a specific region. The second category is material culture-loaded words, which refer to the specific material products in different cultures. Generally, they refer to words including food, clothing, housing and transportation. The third category is the social culture-loaded words, which usually involve the words of social etiquette, social identity, leisure and entertainment, such as local conditions and practices, traditions, social rules, religious moral standards, historical background, ideology and so on. For example, different cultures have different festivals and celebration customs, and people give different meanings to color words. The fourth category is religious culture-loaded words, which generally reflect the cultural beliefs of a certain nation. The fifth category is language culture-loaded words. Different nations have different speaking ways and habits, which are reflected in pronunciation, vocabulary, syntax and other aspects.&lt;br /&gt;
&lt;br /&gt;
===3. Translation methods of culture-loaded words===&lt;br /&gt;
1. Substitution&lt;br /&gt;
Substitution method is a translation method that converts the cultural images in the source language into the cultural images familiar to the target readers. When the cultural images of the source language words are quite different from those familiar to the target readers, it is difficult for the target readers to understand, so the alternative translation method can be adopted.&lt;br /&gt;
2. Interpretation&lt;br /&gt;
Interpretation is a method of interpretative translation of words. Some words exist in both Chinese and Japanese languages, but due to the change of national culture, such words have different connotations in the two nations and are easily confused by translators and readers. At this point, the real meaning of the source words is supplemented by interpretation.&lt;br /&gt;
3. Annotation&lt;br /&gt;
Annotation is a translation method that is faithful to the source language. When the cultural information contained in a word is relatively simple, the translation method of in-text annotation can be adopted. When the cultural information contained in the vocabulary is long, the method of footnote can be adopted.&lt;br /&gt;
&lt;br /&gt;
===4. Culture-loaded words in Russian idioms===&lt;br /&gt;
No matter in Chinese or Russian, there are many words with rich cultural characteristics, especially in many idioms, speech, slang and dialects, with rich cultural connotations. Russian idiom is a language unit composed of two or more stress components with fixed structure and integral meaning. Generalized Russian idioms include proverbs, sayings, idioms, fixed phrases of parole or called idiomatic phrases; In the narrow sense, Russian idioms only include idioms and idiomatic fixed phrases. This paper analyzes the Chinese translation of culture-loaded words in Russian idioms from a broad perspective. Russian can reflect the culture and way of thinking of a nation, with rich cultural connotation and distinctive national characteristics. As the essence of Russian traditional culture, Russian idioms can fully reflect the vivid and vivid Russian national culture, fully reflect the Russian nation's daily life behavior habits, value orientation and traditional customs. As the concentration and essence of Russian national language, Russian idioms are of great significance to the study of Russian and Russian national culture. It can reflect the lifestyle of the Russian nation, the character of the Russian people and cultural connotation. The research on the characteristics and translation methods of Russian idioms can help us understand Russian language and culture in a deeper level. It also gives us a unique glimpse of the world's brilliant culture.&lt;br /&gt;
&lt;br /&gt;
General translation methods of Russian idioms&lt;br /&gt;
(1) Translation of equivalent idioms&lt;br /&gt;
There are some idioms that are basically the same in terms of literal meaning, inner meaning, word image, and implied philosophy in Russian and Chinese. We can use the corresponding translation method to translate these idioms, that is, the formal word-by-word translation. When translating these counterparts, the context can be ignored, as long as the translator keeps in mind the corresponding equivalents. This type of idioms can be translated using literal translation, that is, a translation method that maintains the content of the original idiom without changing the rhetorical characteristics. E.g:&lt;br /&gt;
　　1.Беда не приходит одна-祸不单行. Among them, &amp;quot;беда&amp;quot;, &amp;quot;не&amp;quot;, and &amp;quot;приходит одна&amp;quot; respectively have the same literal meaning and image of words as &amp;quot;祸&amp;quot;, &amp;quot;不&amp;quot; and &amp;quot;单行&amp;quot; in Chinese, and their philosophical meanings are also the same.&lt;br /&gt;
　　2. Куй железо, пока горячо-趁热打铁. Among them, &amp;quot;куй&amp;quot;, &amp;quot;железо&amp;quot;, and &amp;quot;пока горячо&amp;quot; correspond to the Chinese words &amp;quot;打&amp;quot;, &amp;quot;铁&amp;quot;, and &amp;quot;趁热&amp;quot; respectively.&lt;br /&gt;
　　3. Лучше один раз увидеть, чем сто раз услышать — 百闻不如一见.&lt;br /&gt;
　　4. Век живи, век учись — 活到老，学到老.&lt;br /&gt;
(2) Translation of similar idioms&lt;br /&gt;
approximate idioms are also called semi-equivalence idioms, which refer to the same literal meaning, inner meaning, and philosophical meaning of the Russian and Chinese idioms, but the image of the words is partly the same, and partly different. Free translation is usually used when dealing with the translation of such idioms. The so-called free translation method is to convert the image of an idiom in one language into another language as much as possible without losing its meaning. For example: Правда глаза колет-忠言逆耳. &amp;quot;Правда&amp;quot; and &amp;quot;колет&amp;quot; in Russian are the same as &amp;quot;忠言&amp;quot; and &amp;quot;刺痛&amp;quot; in Chinese; however, &amp;quot;глаза&amp;quot; (眼睛) in Russian is not the same as &amp;quot;耳朵&amp;quot; in Chinese. The image needs to be changed when translating. Similar idioms are: как грибы после дождя-如雨后春笋. When грибы (蘑菇) is translated into Chinese, it becomes &amp;quot;春笋&amp;quot;.&lt;br /&gt;
(3)Translation of non-equivalent idioms&lt;br /&gt;
Non-equivalent idiom refers to the national culture contained in the Russian idiom that is unique to the Russian nation and is unfamiliar to the Han nation. This kind of idioms are usually translated using creative methods, that is, without changing the meaning of one language idiom, using the most appropriate interpretation of another language for translation. There are generally two ways of creativity: literal translation + free translation, such as мало каши ел (喝很少的粥)-经验不足, use &amp;quot;каша&amp;quot; to refer to experience; выжимать соки (挤果汁)-榨取血汗, use &amp;quot;сок&amp;quot; refers to blood and sweat, labor; literal translation + comment, such as червонный валет (红桃 &amp;quot;J&amp;quot;)-花花公子, using playing cards to refer to the macaroni（纨绔子弟）; мелкая сошка (小木犁)-无名小卒, using small things to refer to Little people. The paraphrase and annotations here are equivalent. ездят в тулу со своим самоваром (带着茶炊去图拉)-没有必要，多此一举, it involves the cultural and national conditions, Tula is a place rich in teapots, so it is unnecessary to take a samovar to Tula.&lt;br /&gt;
====4.1 Ecological culture-loaded words in Russian idioms====&lt;br /&gt;
As we all know, Russia is a vast country with vast resources. The unique vast land area has created a unique geographical environment in Russia, while breeding a variety of animals and plants on the Russian land.&lt;br /&gt;
&lt;br /&gt;
Crows have a bad connotation in the eyes of the Russian people and are often seen as a bad omen. &amp;quot;белая ворона -白乌鸦&amp;quot; refers to a person who is out of place(特立独行的人), and this idiom is used in Russian with a sense of disapproval. Crows are usually black, but white crows are very strange. &amp;quot;ворон считать - 数乌鸦&amp;quot; means eating the bread of idleness(游手好闲). Usually people with nothing to do have time to count crows. &amp;quot;ворона в павлиньих перьях - 伪装成孔雀的乌鸦&amp;quot; is a person who adorn oneself with borrowed plumes(装腔作势的人). Sparrows are also common in Russian idioms. Sparrow action speed is very fast, in &amp;quot;слово не воробей, вылетит - не поймаешь - 话语如麻雀，出口追不回&amp;quot;as a metaphor of a gentleman's word can't be chased(君子一言驷马难追). There are also &amp;quot;стреляный воробей&amp;quot; refer in particular to sophisticated man (老于世故的人，老油条). Similar words for &amp;quot; старого воробья на мякине не проведёшь посл -秕糠捉不住老鸟&amp;quot;are refers to the sophisticated people are not easily deceived(久经世故之人不易受骗).&lt;br /&gt;
&lt;br /&gt;
In Chinese and Russian idioms, different animals and plants are often used to describe the same phenomenon due to different historical and cultural backgrounds. In Russian, the word &amp;quot;Брать быка за рога (抓住牛角)&amp;quot; has a similar meaning with the Chinese word &amp;quot;抓住牛鼻子&amp;quot;, which means destroying the leader and the gang will collapse(擒贼先擒王). &amp;quot;Метать бисер перед свиньями(猪前撒珠)&amp;quot; is like &amp;quot;对牛弹琴&amp;quot;. It means speaking truth to unreasonable people and speaking elegance to those who do not understand beauty.&lt;br /&gt;
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Crocodile tears - &amp;quot;крокодиловы слёзы&amp;quot; refers to false compassion假慈悲. According to ancient Western legends, crocodiles are both ferocious and cruel as well as cunning and crafty. When it peeps into people, livestock, animal fish and other prey objects, often will first shed tears, like mercy, so that you were paralyzed by the illusion of its sudden attack to lose vigilance, in a state of no defense by it fiercely swallowed. Another said, is the crocodile will be captured after the prey, greedily swallowed at the same time, will shed crocodile tears. In short, it's a metaphor for false tears, fake sympathy. Later, it is conventionally extended to satirize those insidious and crafty people who harm others while pretending to be compassionate and kind.&lt;br /&gt;
&lt;br /&gt;
====4.2 Material culture-loaded words in Russian idioms====&lt;br /&gt;
Russia has its own unique cultural material products, these cultural characteristics reflected in all aspects of clothing, food, housing and transportation.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;первый блин всегда комом - 第一张薄饼是一团&amp;quot; means all things are difficult before they are easy(万事开头难). &amp;quot;блин - 薄饼&amp;quot; is a kind of unique Russian food. It is round in shape, symbolizing the bright sun and heralding the coming of spring and the lengthening days. &amp;quot;блин - 薄饼&amp;quot; is also a staple in the traditional Slavic festival - Maslenitsa. To &amp;quot;ездят в тулу со своим самоваром - 带着茶炊去图拉&amp;quot; is to make a waste of time(多此一举). Tula is a place name in Russia, where the samovar is abundant, so it is unnecessary to take the samovar to Tula.&amp;quot;за семь вёрст киселя хлебать - 跑七里路去喝一口羹(没有必要)&amp;quot; and &amp;quot;седьмая вода на киселе - 羹里的第七滴水(八竿子打不着的亲戚)&amp;quot;. Among them &amp;quot;кисель(甜羹)&amp;quot; is also native food to the Russian nation. It can be made from almost any kind of fruit and berries, fresh and dried, fruit and pulp juices, syrups, jams, and milk with potato starch or corn starch. There are also non-sweet-tasting ones made from vegetables like peas. &amp;quot;по ерёме колпак кафтан - 捉襟见肘&amp;quot; and &amp;quot;тришкин кафтан - 什么样的人就戴什么样的帽子(恰如其分)&amp;quot;. &amp;quot;кафтан(男长衣)&amp;quot; in this idiom is a kind of long coat with belted waist and floor-length sleeves worn by Russian men in the old days, which was very popular in Russia before the 20th century. &amp;quot;садиться не в свои сани - 坐在别人的雪橇上(不称职、对职务不能胜任)&amp;quot;, the word &amp;quot;сани(雪橇)&amp;quot; in this idiom is one of the most common means of transport for Russians in winter.&lt;br /&gt;
&lt;br /&gt;
====4.3 Religious culture-loaded words in Russian idioms====&lt;br /&gt;
Most people in Russia are religious, but most of the Idioms in Russian with religious cultural overtones are derived from Western Christianity.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Дорого яичко к Христову дню - 送红鸡蛋要赶复活节&amp;quot; refers to do not send umbrellas after rain, refers to do good deeds must be timely(不要雨后送伞、做好事必须及时), Easter is a very important traditional Festival in Russia, is to commemorate the resurrection of Jesus after the death. Easter eggs to prepare cooked eggs (Easter eggs), boiled eggs coated with red, yellow, blue, coffee, green, purple and other colors, when the guests come, the host gives an egg, to symbolize the prosperity of life.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;не все коту масленица - 不是全年都是谢肉节&amp;quot; means that the good times will not last long and the feast will not come again(好景不长、盛宴难再). This idiom comes from the Maslenitsa culture of Russian national religion. The festival of Maslenitsa originated in the Eastern Orthodox Church. Meat and entertainment are forbidden during the 40-day Maslenitsa period. Thus, in the week before the start of Ramadan, people indulge in orgies and families eat meat to make up for the ascetic lifestyle of fasting. Hence the name of the Festival.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;козёл отпущения&amp;quot; refers to a scapegoat(替罪羊). At that time, the ancient Jews had such a ritual in life. When the day of confession came, the highest priest would put his hands on the head of the live goat, which indicated that the sin of all mankind would be transferred to the goat, and the goat would be banished to the desert. In Russian national and religious culture, this idiom is usually used to mean that people take the blame for others.&lt;br /&gt;
&lt;br /&gt;
The Influence of Christianity on Russian idioms is very profound. Pushkin, the great Russian writer and poet, pointed out that the birth of Christianity was the greatest spiritual and political turning point on our earth, and the world died and was born in this sacred environment. It can be said that Christianity has played an extremely important role in human history, especially in western social life and cultural development. Since 988, when The Archduke of Kievan Rus established Christianity as the state religion, most Of the Russian people believe in Christianity, and there are about 200 idioms and fixed words from the Bible. A large number of Idioms in Russian derive from the Bible. The Bible is a Christian classic, including the Old Testament and the New Testament in 66 volumes. With the development of history and the evolution of language, idioms derived from the myths and legends of the Bible and the teachings and precepts of the Gospels have entered the Russian standard language and acquired new meanings. Now, through the study of Russian idioms from the Bible, analysis of their source text interpretation, use characteristics, we can see the influence of the Bible on Russian from the side.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;в поте лица - 汗流满面&amp;quot; From &amp;quot;Old Testament·Genesis&amp;quot; (Chapter 3, Section 19), God says to Adam, the father of mankind, when he sinned and drove him out of the Garden of Eden for eating from the tree of good and evil: &amp;quot;В поле лица твоего будешь есть хлеб, доколе не возвратишься в землю, из которой ты взят, ибо прах ты и в прах возвратишься.” - 你必须汗流满面才有饭吃，直到你归于尘土，因为你是由土而来的；你即是灰土，还要归于灰土.&amp;quot; &amp;quot;Волк в овечьей шкуре 或 волк (напялил) на себя овечью шкуру - 披着羊皮的 狼&amp;quot; from &amp;quot;New Testament Gospel of Matthew&amp;quot; (Chapter 7, Section 15), &amp;quot;Берегитесь лжепророков, которые приходят к вам в овечьей одежде, а внутри суть волки хищные - 你们要提防假先知! 他们来 到你们跟前,外披羊皮,内心却是凶残的豺狼.&amp;quot; &amp;quot;Кто не работает, тот не ест - 不劳动者不得食&amp;quot; originally derived from &amp;quot;The New Testament·2 Thessalonians&amp;quot;: &amp;quot;Ибо когда мы были у вас, то завещевали вам сие: если кто не хочет трудиться, тот не ест. - 当我们在你们那里的时候，早已吩咐过你们：谁若不愿意工作就不应当吃饭.&amp;quot; &amp;quot;продать (предать) за тридцать сребреников(кого) - 为三十块银币而出卖某人&amp;quot; from &amp;quot;the New Testament Gospel of Matthew&amp;quot;. The story tells that judas, one of The twelve disciples of Jesus, got thirty pieces of silver from the priest and sold Jesus to the Jewish authority. Then he took the opportunity to bring many people with knives and clubs to the house of Jesus and his disciples and arrested Jesus. As a result, Jesus was crucified. According to the statistics of the Dictionary of Russian Idiom etymology, there are more than 1400 Russian idioms in the book, among which 161 are derived from the Bible or related to them, accounting for 11.5%. It can be seen that the Bible has a deep influence on Russian.&lt;br /&gt;
&lt;br /&gt;
====4.4 CultureSocial culture-loaded words in Russian idioms====&lt;br /&gt;
Russia has a long history and diverse social customs. Many unique Russian cultural phenomena are reflected in Russian idioms.&lt;br /&gt;
&lt;br /&gt;
During the Soviet Union, some words and languages produced under the background of The Times had unique meanings and connotations of the society at that time. The &amp;quot;Красный уголок&lt;br /&gt;
(红角)&amp;quot; was a place for cultural and educational activities in the Soviet Union. Russian idioms also reflect their national cultural characteristics through their lexical composition. Some words in these idioms are not equivalent words. &amp;quot;Фертом стоять (смотреть, ходить, глядеть, выглядеть. . . ) - 趾高气扬、威武自负、洋洋自得的样子&amp;quot; The word is an ancient name of the Russian letter &amp;quot;ф&amp;quot;, which resembles a man standing erect with his hands akimbo, so the meaning of the whole idiom is to place his hands between the waist in a confident, aggressive posture. Other similar Russian idioms include &amp;quot;На ять - 顶呱呱，呱呱叫&amp;quot; and &amp;quot;Лезть на рожон - 铤而走险&amp;quot;. The idiom &amp;quot;Чувство локтя - 站队时保持一肘距离的习惯&amp;quot; is used in the spirit of supporting friendly troops and helping each other(支持友军的精神，互助精神). The word &amp;quot;Белый - 白色的&amp;quot; in idioms sometimes conveys a negative meaning. The idiom &amp;quot;Показать белое перо - 展示白羽毛&amp;quot; comes from a cockfight. In fights between roosters of different colors, red, red, and black roosters were found to be more aggressive, biting off the tail feathers of timid white roosters. So this idiom means to be defeated and laughed at(被打败，被嘲笑). &amp;quot;Белый - 白色的&amp;quot; in this idiom means &amp;quot;cowardice, cowardice, and submission.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Culture-loaded words, as their name implies, carry the culture of a particular nation or country, which are closely related to the culture they carry. This sets up difficulties for translators when translating such expressions. If the translation only stays on the surface and ignores the cultural connotation of the words, it will lead to the loss of culture. In addition, another point worth the translator's attention is that the conceptual meaning and connotative meaning of culture-loaded words are often inconsistent. This requires us to flexibly choose appropriate translation strategies in translation to convey the connotation and meaning of culture-loaded words as far as possible, so as to ensure the readability of the translated text and retain the flavor of the original text to facilitate cultural exchange and communication.&lt;br /&gt;
&lt;br /&gt;
Differences in cultural systems and language systems, and difficulties in translation, lead to misunderstandings in the translation of culturally loaded words, and it is difficult to deeply grasp the core of culture and make it fully presented in front of us.&lt;br /&gt;
There are several situations in the translation and translation effect of culturally loaded words:&lt;br /&gt;
1) Omission-complete lack of cultural connotation;&lt;br /&gt;
2) Simple transliteration-whether the cultural connotation is transmitted or not depends on the degree of communication of the word and the cultural level of the target language reader;&lt;br /&gt;
3) Transliteration plus annotations-cultural information is conveyed, but it is likely to damage the readability of the story or cause the translation to be cumbersome;&lt;br /&gt;
4) Replacement imagery and even complete domestication-the cultural connotation of the original word disappears, but it is easy for readers of the target language to understand.&lt;br /&gt;
It can be seen that several translation strategies are not superior in the absolute sense. For the translation of culturally loaded words, the translator must not only have a deep language foundation, but also an encyclopedia-like knowledge structure, and must be careful and patient in the translation process. Culture-loaded words belong to micro-culture, and their distinctive and strong cultural color is an indispensable part of Russian culture. Although they will inevitably &amp;quot;make a facelift&amp;quot; in the process of translation, resulting in the loss of some information, translators should still work hard to understand the cultural connotations of the original language and the target language in order to build a bridge for communication and understanding between the two sides.&lt;br /&gt;
&lt;br /&gt;
Culture is a complex social phenomenon, which is the sum total of a nation's knowledge, experience, value, rank, religion and concept of time and space. It has distinct national and regional characteristics and is used in all areas of a certain society. Language is only a part of culture, any language is a reflection of a certain culture, language is the carrier of culture, language and culture are inseparable. Russian and Chinese are both languages with a long history, yet each belongs to a completely different language family. Their differences are not only reflected in the form of language (pronunciation, grammar), but also show the rich cultural characteristics of words. Because the objectivity of language, social and cultural are casting together, language is a nation created in the long-term productive labor and social practice and service for them, so their words are bound to the social reality of the nation, the native living habits and way of thinking, language, psychology, behavior norms, moral values, political ideas and cultural traditions, and deeply stamped with this nation, this region and this era. Therefore, Russian and Chinese words are bound to carry their own specific cultural connotations. To understand the culture of a nation, in addition to observing its actual behavior, what is more important is that we can study their language, especially through the study of language vocabulary to understand their cultural traditions and connotation in the culture. Because vocabulary contains abundant cultural information, it is an important content for better cross-cultural communication.&lt;br /&gt;
&lt;br /&gt;
To sum up, Russian idioms are an important part of Russian national culture, which fully reflect the Russian nation's daily lifestyle, beliefs, customs and psychological characteristics. Russian idioms content is rich and colorful characteristics, by strengthening the study of Russian idiom learning, can help us deeply understand the master to the traditional customs of ethnic russians, and correct use of Russian language, add more glory for language expression, and to avoid in the process of Russian social expression appeared a slip of the tongue, affect each other on both sides of the normal communication smoothly.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
[1]于建华.俄语成语与俄罗斯民族文化研究[J].散文百家,2019(11):222.&lt;br /&gt;
[2]王发金.俄语成语文化的研究[J].旅游纵览(下半月),2017(22):237.&lt;br /&gt;
[3]袁顺芝.俄汉翻译中的语言文化现象及其处理方法[J].中国俄语教学,2014,33(04):40-44.&lt;br /&gt;
[4]司道权.浅析俄语成语的特点及翻译方法[J].品牌,2015(03):113.&lt;br /&gt;
[5]裴晓明.俄语成语翻译中的几个问题[J].科技信息,2012(30):212.&lt;br /&gt;
[6]王金凤.俄语成语的意义及其翻译[J].中国翻译,2008,29(05):72-74.&lt;br /&gt;
[7]张莹.俄语成语翻译中的文化伴随意义[J].佳木斯大学社会科学学报,2006(02):157-158.\&lt;br /&gt;
[8]鞠海娜.俄汉成语蕴含的民族文化比较研究[J].黑河学院学报,2021,12(04):174-175.&lt;br /&gt;
[9]廖七一 .当代西方翻译理论探索 [M]. 南京 :译林出版社 , 2000&lt;br /&gt;
[10]王淑杰.不同宗教信仰影响下的俄汉成语[J].科技信息,2009(07):531+553.&lt;br /&gt;
[11]张家丰.俄语成语颜色词的象征意义[J].黑河学院学报,2021,12(02):169-171.&lt;br /&gt;
[12]王青.中国文化负载词的英译研究[J].校园英语,2020(24):243-244.&lt;br /&gt;
&lt;br /&gt;
=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =&lt;br /&gt;
[[Cult_Load_Words_EN_8]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Language is the carrier of culture and closely related to culture. Translation of culture- loaded words has been a difficult problem for translators.The culture behind culture- loaded words made translator hard to find words that are coherent to the original text. For the same culture-loaded word, different languages have different translation methods. This paper takes the novel ''Medicine'' as an example exploring the contrast of English and Japanese translation of culture-loaded words in the same text.&lt;br /&gt;
&lt;br /&gt;
Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel ''Medicine'' as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:11, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Culture-loaded Words; Medicine; English and Japanese Translation&lt;br /&gt;
&lt;br /&gt;
=== 题目 ===&lt;br /&gt;
《药》英日译本中文化负载词的翻译对比研究&lt;br /&gt;
&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
文化负载词；《药》；英日翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only get faithfulness, expressiveness and elegance, but also understand the culture concepts behind each word in the original text. Culture-loaded words have always been a difficult problem in translation. Due to cultural differences, it is difficult for translators to find words that are coherent to the original text. In the process of translation, if the translation work in a comparatively mechanical manner, it is hard for us to understand the true meaning of the original text. Therefore, it is very important to do a good job in translating culture loaded words.&lt;br /&gt;
&lt;br /&gt;
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:13, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===1.Culture-Loaded Words===&lt;br /&gt;
&lt;br /&gt;
====1.1 Definition  of Culture Loaded Words====&lt;br /&gt;
Language is the carrier of culture and closely related to culture. With the development of cultural communication, more and more scholars begin to study the translation of culture-loaded words. Different people have different definitions of culture-loaded words. Mona Baker put forward the the concept of “culture-specific” .A word in the original language is often different in the target language, which often makes readers from the target language culture at a loss end. Sometimes culture-loaded words are abstract, involving religious beliefs or cultural customs, and sometimes they are specific.Spanish translator Javier Franco Aixela put forward the definition of &amp;quot;cultural-specific item”. It tells us that &amp;quot;There are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no coherent item in the cultural system of the target language.In China, Jin Huikang thought &amp;quot;Culture loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent. &amp;quot;(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of vocabulary vacancy,means that the cultural information carried by the source language vocabulary has no counterpart in the target language. (Bao Huinan, 2004:10) He think that&amp;quot;Every language is the product of the cultural development of a country and nation, and has its long historical background and rich cultural connotation. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, each language has its own specific vocabulary, idioms and allusions Culture loaded words reflect these concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are &amp;quot;Words, phrases and idioms that mark the unique things in a culture.These words reflect the unique activity mode gradually accumulated by a specific nation in the long historical process, which is different from other nations.&amp;quot;(Liao Qiyi 2000:230)Language reflects different living conditions and religious differences, which lead to different modes of thinking, values, aesthetic standards and moral differences. (Wang Chuanmei, 2008:5) &lt;br /&gt;
Culture-bearing words are closely related to culture and have rich cultural significance. These words are closely related to cultural, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotion and subjective judgments. so some words are endowed with special meanings, which are rooted in the culture of a country or a nation and reflects the cultural characteristics.(Wu Xiaodan:2015)&lt;br /&gt;
&lt;br /&gt;
Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of &amp;quot;cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. &amp;quot;(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are &amp;quot;Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations.&amp;quot;(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan:2015)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:14, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====1.2 Classification of Culture-loaded Words====&lt;br /&gt;
Nida believes that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is very challenging. Nida divided culture-loaded words into the following five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.&lt;br /&gt;
&lt;br /&gt;
1.2.1.Ecological Culture-loaded Words&lt;br /&gt;
Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refer to plants, animals, monsoon, hills and other related words in a specific region.&lt;br /&gt;
&lt;br /&gt;
1.2.2.Material Culture-loaded Words&lt;br /&gt;
the main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as buildings, food, clothing and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries&lt;br /&gt;
&lt;br /&gt;
1.2.3.Social Culture-loaded Words&lt;br /&gt;
In the long history, different countries have formed their own customs, lifestyles and behavior. The words that reflect the characteristics of these fields are called social cultural loaded words.&lt;br /&gt;
This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Russian versions.&lt;br /&gt;
&lt;br /&gt;
1.2.4.Religious Culture-loaded Words&lt;br /&gt;
In the long history of development, different countries and nations have formed their own religious beliefs.Therefore, in order to better understand the culture of a nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious belief and cultural tradition of a nation or nation. The difference of religious culture between countries is a big obstacle for readers to understand the words embodied in the religious culture&lt;br /&gt;
&lt;br /&gt;
1.2.5.Linguistic Culture-loaded Words&lt;br /&gt;
The grammatical, phonetic and constitutive characteristics of culture-loaded words. Its visual effect and linguistic effect are the biggest characteristics of this kind of words.&lt;br /&gt;
&lt;br /&gt;
In the development history of a nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, including a certain cultural background and other characteristics are language culture-loaded words. There are a lot of culture-loaded words in the novel medicine.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.&lt;br /&gt;
&lt;br /&gt;
1.2.1.Ecological Culture-loaded Words &lt;br /&gt;
Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.&lt;br /&gt;
&lt;br /&gt;
1.2.2.Material Culture-loaded Words &lt;br /&gt;
The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.&lt;br /&gt;
&lt;br /&gt;
1.2.3.Social Culture-loaded Words &lt;br /&gt;
In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.&lt;br /&gt;
&lt;br /&gt;
1.2.4.Religious Culture-loaded Words &lt;br /&gt;
In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.&lt;br /&gt;
&lt;br /&gt;
1.2.5.Linguistic Culture-loaded Words &lt;br /&gt;
The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.&lt;br /&gt;
&lt;br /&gt;
In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel ''Medicine''.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:15, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Medicine ===&lt;br /&gt;
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels.&lt;br /&gt;
The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.&lt;br /&gt;
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Lu Xun was a great writer and thinker in modern China. His articles reflect the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel ''Medicine'' is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, truly reflecting the national culture of that time in the novel. At this point, this thesis chooses the masterpiece Medicine as the research object, witch is the typical representative of LuXun and the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel ''Medicine'' exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:19, 12 December 2021 (UTC)&lt;br /&gt;
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===3. The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===&lt;br /&gt;
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.&lt;br /&gt;
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3.1Ecological Culture-loaded Words&lt;br /&gt;
（1）茶馆的两间屋子里，便弥漫了青白的光 。 &lt;br /&gt;
Yang:which shed a ghostly light over the two rooms of the tea-house.&lt;br /&gt;
Inoue :青白い光は茶館の中のに満ちた。&lt;br /&gt;
“茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”.&lt;br /&gt;
（2）西关外靠着城根的地面，本是一块官地。　&lt;br /&gt;
Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land.&lt;br /&gt;
Inoue :西関外の城の根元にる地面はもとからの官有地で&lt;br /&gt;
Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand.&lt;br /&gt;
（3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。&lt;br /&gt;
Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. &lt;br /&gt;
Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。&lt;br /&gt;
Yang adopted the domesticating method, translating“丁字街” as  “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as  “丁字街”. The translation of Yang  makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.&lt;br /&gt;
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3.2Material Culture-loaded Words&lt;br /&gt;
（1）衣服前后一个大白圆圈 ， 远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。&lt;br /&gt;
Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. &lt;br /&gt;
Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。&lt;br /&gt;
The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words &amp;quot;soldier&amp;quot; or &amp;quot;brave&amp;quot;. Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method.&lt;br /&gt;
（2）便点上灯笼，吹媳灯盏，走向里屋去了。&lt;br /&gt;
Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. &lt;br /&gt;
Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。&lt;br /&gt;
Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly.&lt;br /&gt;
（3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。&lt;br /&gt;
Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice&lt;br /&gt;
Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。&lt;br /&gt;
The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as  “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted  translated“洋钱” as  “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins&lt;br /&gt;
（4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。&lt;br /&gt;
Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground.&lt;br /&gt;
Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。&lt;br /&gt;
Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. &lt;br /&gt;
（5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。&lt;br /&gt;
Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. &lt;br /&gt;
Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。&lt;br /&gt;
“纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.&lt;br /&gt;
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3.3Social Culture Culture-loaded Words&lt;br /&gt;
（1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。&lt;br /&gt;
Yang:Old Chuan called softly: &amp;quot;Son! . . Don't you get up! . . . Your mother will see to the shop.&amp;quot;&lt;br /&gt;
Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」&lt;br /&gt;
Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly.&lt;br /&gt;
（2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。&lt;br /&gt;
Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright.&lt;br /&gt;
Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。&lt;br /&gt;
The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly.&lt;br /&gt;
（3）仿佛抱着一个十世单传的婴儿。&lt;br /&gt;
Yang:as if it were the sole heir to an ancient house.&lt;br /&gt;
Inoue :さながらの十世単伝の一人子を抱いているようなものであった。&lt;br /&gt;
The author refers to the preciousness of &amp;quot;human blood steamed bread&amp;quot; through the &amp;quot;十世单传&amp;quot;. Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area.&lt;br /&gt;
（4）“谁的？不就是夏四奶奶的儿子么？&lt;br /&gt;
Yang:&amp;quot;Who? Son of Widow Hsia, of course! Young rascal!&lt;br /&gt;
Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」&lt;br /&gt;
Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text.&lt;br /&gt;
（5）康大叔见众人都耸起耳朵听他，便格外高 兴。&lt;br /&gt;
Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher.&lt;br /&gt;
Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。&lt;br /&gt;
&amp;quot;叔&amp;quot; is the title of the father's younger brother. Now  &amp;quot;叔&amp;quot; also refers to an older adult man, or a man more than 20 years older than oneself. In English, &amp;quot;uncle&amp;quot; does not mean blood relationship. &amp;quot;Mr. Kang&amp;quot; does not show the relationship between people.Both Yang and Inoue used domesticating method.&lt;br /&gt;
（6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。&lt;br /&gt;
Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!&amp;quot;&lt;br /&gt;
Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」&lt;br /&gt;
Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. &lt;br /&gt;
（7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 &lt;br /&gt;
Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. &lt;br /&gt;
Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。&lt;br /&gt;
“乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method.&lt;br /&gt;
（8）“义哥是一手好拳棒，这两下，一定够他受用了。”&lt;br /&gt;
Yang:Red-eye is a good boxer. Those slaps must have hurt!&amp;quot; &lt;br /&gt;
Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ&lt;br /&gt;
It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method.&lt;br /&gt;
（9）他这贱骨头打不怕，还要说可怜可怜哩。 &lt;br /&gt;
Yang:&amp;quot;The rotter was not afraid of being beaten. He even said how sorry he was.&amp;quot;&lt;br /&gt;
Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」&lt;br /&gt;
&amp;quot;贱骨头&amp;quot; is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation.&lt;br /&gt;
（10）这一年的清明，分外寒冷。&lt;br /&gt;
Yang:The Ching Ming Festival that year was unusually cold. &lt;br /&gt;
Inoue :今年の清明節は殊の外寒く&lt;br /&gt;
“清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the  western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by  foreignizing method. &lt;br /&gt;
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3.4Linguistic Culture-loaded Words&lt;br /&gt;
（1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印 成一个阳文的”八”字 。&lt;br /&gt;
Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. &lt;br /&gt;
Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。&lt;br /&gt;
“阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan.  Lu Xun used the character &amp;quot;eight&amp;quot; to tell readers that  Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter &amp;quot;V&amp;quot; is very similar to the Chinese letter &amp;quot;八&amp;quot;.so Yang translated it to  &amp;quot;V&amp;quot;. And since Japan also has the word &amp;quot;八&amp;quot;, so Inoue used it directly.&lt;br /&gt;
（2）还要老虎头上搔痒，便给他两个嘴巴！ &lt;br /&gt;
Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps.&amp;quot;&lt;br /&gt;
Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ&lt;br /&gt;
&amp;quot;老虎头上搔痒&amp;quot; is a allegory of boldness, recklessness and overreach. It can also be extended to mean &amp;quot;seeking death&amp;quot; or &amp;quot;not afraid of death&amp;quot;. both Yang and Inoue adopted literal translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified&lt;br /&gt;
On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.&lt;br /&gt;
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Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. ''Medicine'', as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts  of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:39, 12 December 2021 (UTC)&lt;br /&gt;
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=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =&lt;br /&gt;
[[Cult_Load_Words_EN_9]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. The commentaries translation of cultural relics provided by museums, affecting the acceptability of the target text receiver directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research that how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So as to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally- loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward the definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004:). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory focus on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory open up a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics, and style, the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new concept of translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor to modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book Language, Culture and Translating, he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver.&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang Enke 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence.&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金·奈达,查尔斯·泰伯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金·奈达 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王恩科 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu Jie 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society.&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (LR Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang Li,Wu Linan 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication.&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. &lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(LR Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张丽,吴丽楠 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. &lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo Na 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun Lingling 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this.&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
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例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左娜 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙玲玲 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
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Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time.&lt;br /&gt;
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3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
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又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
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====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
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Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
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For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu Wenqi 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. &lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
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例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮文起 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
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Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
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For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
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In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
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3.4语言文化类&lt;br /&gt;
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语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
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例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
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另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
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In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
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本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Nida E.A. 尤金·奈达, Taber C.R. 查尔斯·泰伯. (2004)翻译理论与实践[The Theory and Practice of Translation]. Shanghai: Shanghai Foreign Language Education Press. 上海外语教育出版社.&lt;br /&gt;
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[2] Nida E.A. 尤金·奈达. (2001) 语言与文化：翻译中的语境[Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press. 上海外语教育出版社:87.&lt;br /&gt;
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[3] Wang Enke 王恩科. (2002) 文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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[4] Hu Jie 胡洁. (2018) 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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[5] Zhang Li 张丽, Wu Linan 吴丽楠. (2021) 中原传统文化负载词日语翻译策略研究[Strategies of translating traditional culture-loaded words of Central Plains into Japanese]. Journal of Henan Polytechnic University ( Social Sciences) 河南理工大学学报(社会科学版)(06):43.&lt;br /&gt;
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[6] Zhang Hongyan 张红艳. (2000) 试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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[7]新村出(編).広辞苑(第6版) [Z].東京:岩波書店,2008.&lt;br /&gt;
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[8] Zuo Na 左娜. (2011) “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学.&lt;br /&gt;
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[9] Sun Lingling 孙玲玲. (2018) 汉民族传统服装之“右衽”[J].学苑教育(8):81.&lt;br /&gt;
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[10]Pu Wenqi 濮文起. (2021) 中国人地狱观的演变进路[J].世界宗教文化(2):12.&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;--~~~~Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&lt;br /&gt;
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=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 =&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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=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=&lt;br /&gt;
[[Cult_Load_Words_EN_11]]&lt;br /&gt;
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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 = &lt;br /&gt;
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殷慧珍 Yin Huizhen, Hunan Normal University, China &lt;br /&gt;
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===Abstract===&lt;br /&gt;
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.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen&lt;br /&gt;
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===题目===&lt;br /&gt;
归化异化策略下方华文《春节》中文化负载词的英译研究&lt;br /&gt;
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===摘要===&lt;br /&gt;
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。&lt;br /&gt;
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===关键词===&lt;br /&gt;
文化负载词《春节》 归化与异化翻译策略 方华文&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''.&lt;br /&gt;
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===Fang Huawen and ''The Spring Festival''===&lt;br /&gt;
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 &amp;quot;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.&lt;br /&gt;
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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 &amp;quot;Rockets&amp;quot;, &amp;quot;Rolling Mines&amp;quot;, &amp;quot;Fairy Scattering Flowers&amp;quot;, &amp;quot;Knights in Red&amp;quot; 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.&lt;br /&gt;
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===Culture and Culture-loaded Words===&lt;br /&gt;
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====The Brief Introduction of Culture====&lt;br /&gt;
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.&lt;br /&gt;
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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.&lt;br /&gt;
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.&lt;br /&gt;
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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)&lt;br /&gt;
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====The Brief Introduction of Culture-loaded Words====&lt;br /&gt;
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: &amp;quot;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&amp;quot; (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.&lt;br /&gt;
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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, &amp;quot;Mount Tai&amp;quot; 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, &amp;quot;a big fish&amp;quot; is literally translated into Chinese “一条大鱼”, but in English culture, it means &amp;quot;Great man&amp;quot;, because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.&lt;br /&gt;
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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 &amp;quot;Wu Xing(五行)&amp;quot;also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena. &lt;br /&gt;
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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, &amp;quot;aunt&amp;quot; in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.&lt;br /&gt;
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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 &amp;quot;菩萨心肠&amp;quot;，which refers to the people with a great kind heart. Cram at the eleventh hour. &amp;quot;菩萨&amp;quot;is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.&lt;br /&gt;
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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,&amp;quot;经得广，知得多&amp;quot;，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.&lt;br /&gt;
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===Domestication and Foreignization Strategies===&lt;br /&gt;
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）&lt;br /&gt;
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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 &amp;quot;exotic&amp;quot; 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 &amp;quot;time is money&amp;quot;, comes from the foreignization of &amp;quot;time is money&amp;quot; in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）&lt;br /&gt;
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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.&lt;br /&gt;
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===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===&lt;br /&gt;
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.&lt;br /&gt;
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====Ecological Culture-loaded Words====&lt;br /&gt;
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words &amp;quot;火树银花&amp;quot; to describe the scene of the Lantern Festival with bright lights. Literally, &amp;quot;火树&amp;quot; means the fire trees, &amp;quot;银花&amp;quot; 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 &amp;quot;fireworks and laterns were everywhere to be seen&amp;quot;, &amp;quot;火树&amp;quot; refer to the trees are covered with colorful lights, and &amp;quot;银花&amp;quot; refer to brightly lit scene.&lt;br /&gt;
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====Material Culture-loaded Words====&lt;br /&gt;
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.&lt;br /&gt;
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Example 1: &amp;quot;爆竹声中一岁除，春风送暖入屠苏。&amp;quot;&lt;br /&gt;
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Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.&lt;br /&gt;
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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 &amp;quot;Tusu&amp;quot;(屠苏) has great cultural connotation. &amp;quot;Tusu&amp;quot; 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.&lt;br /&gt;
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Example 2: 曾架起一座二十丈的灯山。&lt;br /&gt;
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Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.&lt;br /&gt;
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In the sentence, &amp;quot;二十丈&amp;quot;, 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.&lt;br /&gt;
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====Social Culture-loaded Words====&lt;br /&gt;
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 &amp;quot;汉武帝&amp;quot; and &amp;quot;唐睿宗&amp;quot; are mentioned. The translator's translation of the ruler is as follows:&lt;br /&gt;
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Example 1：自从汉武帝以来...。&lt;br /&gt;
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Ever since the Emperor Wu's Reign of Han Dynasty.&lt;br /&gt;
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Example 2：唐睿宗时，长安的皇宫外庆贺元宵节&lt;br /&gt;
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During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.&lt;br /&gt;
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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 &amp;quot;Wu&amp;quot;, 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 &amp;quot;Rui&amp;quot;, which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title &amp;quot;Wu&amp;quot; of Emperor Wu of the Han Dynasty and the temple name &amp;quot;Rui&amp;quot; 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.&lt;br /&gt;
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Example 3: 其外形有&amp;quot;哪吒闹海&amp;quot;&amp;quot;孙悟空&amp;quot;&amp;quot;猪八戒&amp;quot;和&amp;quot;沙僧&amp;quot;。&lt;br /&gt;
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Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing. &lt;br /&gt;
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The words in historical allusions and legends have great social and cultural connotation. &amp;quot;哪吒闹海&amp;quot;is an ancient Chinese legend.&amp;quot;孙悟空&amp;quot;, &amp;quot;猪八戒&amp;quot; and &amp;quot;沙僧&amp;quot; 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 &amp;quot;孙悟空&amp;quot; into &amp;quot;Na Zha's adventure in the East Sea&amp;quot;, &amp;quot;孙悟空&amp;quot;into the well-known Monkey King, &amp;quot;猪八戒&amp;quot; into Pigsy, and &amp;quot;沙僧&amp;quot; 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).&lt;br /&gt;
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====Regilious Culture-loaded Words====&lt;br /&gt;
Example 1：死后玉皇大帝封他为&amp;quot;斩祟将军&amp;quot;&lt;br /&gt;
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And was appointed &amp;quot;ghost-killler general&amp;quot; by God of all gods after his death.&lt;br /&gt;
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In the translation, the translator uses domestication translation theory to translate &amp;quot;玉皇大帝&amp;quot; into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and &amp;quot;玉皇大帝&amp;quot; is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, &amp;quot;玉皇大帝&amp;quot; also governs the affairs of the universe. People regard &amp;quot;玉皇大帝&amp;quot; as the &amp;quot;emperor&amp;quot; in heaven, the supreme ruler of the world of all gods.&lt;br /&gt;
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. &lt;br /&gt;
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Example 2: 旧岁的最后一天叫&amp;quot;大年三十”，因&amp;quot;除旧岁”而得名除夕。&lt;br /&gt;
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Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.&lt;br /&gt;
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The phrase &amp;quot;旧岁”, &amp;quot;岁”is not only refers to the age, but also means year. &amp;quot;旧岁&amp;quot; refers to the past year. The last day of the year, called &amp;quot;岁除&amp;quot;, and the night of the day is called &amp;quot;除夕&amp;quot;. 除夕, the original meaning of &amp;quot;New Year's Eve&amp;quot;, 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.&lt;br /&gt;
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====Language Culture-loaded Words====&lt;br /&gt;
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 &amp;quot;像箭一般冲出去了&amp;quot;, 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 &amp;quot;离弦之箭&amp;quot; is used to describe high speed.  &amp;quot;离弦之箭&amp;quot; refers to Time flies quikly. But there is no  equivalent like arrow in English. In English, words like &amp;quot;bullet&amp;quot; or &amp;quot;cheetah&amp;quot; or &amp;quot;rocket ship&amp;quot; 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 &amp;quot;dash out&amp;quot;, &amp;quot;dash&amp;quot; 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.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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 &amp;quot;玉皇大帝”into&amp;quot;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 &amp;quot;Danianshanshi&amp;quot;. 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.&lt;br /&gt;
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===References===&lt;br /&gt;
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Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.&lt;br /&gt;
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Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.&lt;br /&gt;
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Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&amp;amp;Newyork:Routledge.&lt;br /&gt;
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Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese&amp;amp; Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)&lt;br /&gt;
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=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 =&lt;br /&gt;
[[Cult_Load_Words_EN_13]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
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.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Culture-loaded words; ''Border Town''; Dai Naidie; Translator behavior criticism&lt;br /&gt;
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===Introduction===&lt;br /&gt;
===1.Introduction of ''Border Town''===&lt;br /&gt;
====1.1 Background of ''Border Town''====&lt;br /&gt;
''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.&lt;br /&gt;
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====1.2 Introduction of the Author Shen Congwen====&lt;br /&gt;
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: &amp;quot;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.&amp;quot; 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.&lt;br /&gt;
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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.&lt;br /&gt;
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Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that &amp;quot;beauty lies in life&amp;quot;. Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, &amp;quot;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.&amp;quot; Therefore, it can be said that the &amp;quot;Greek temple&amp;quot; symbolizes a spiritual space full of human beauty and divine love, which transcends the &amp;quot;secular heart and eyes&amp;quot; and radiates the light of holiness. This &amp;quot;small Greek temple&amp;quot; lived those beautification, by the divinity of the ordinary women, such as Cuicui, Yao Yao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are &amp;quot;the life form of the border city&amp;quot;.&lt;br /&gt;
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===2. Cultural-loaded Words===&lt;br /&gt;
====2.1 Definition of Cultural-loaded Words====&lt;br /&gt;
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.&lt;br /&gt;
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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.&lt;br /&gt;
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====2.2 The Necessity of Cultural-loaded Words Study====&lt;br /&gt;
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.&lt;br /&gt;
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Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as &amp;quot;the purest novel text in the history of modern literature&amp;quot; and &amp;quot;the peak work in the pastoral legend of modern Chinese literature&amp;quot;. 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.&lt;br /&gt;
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===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===&lt;br /&gt;
====3.1 The Introduction to Dai Naidie====&lt;br /&gt;
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. &amp;quot;Yang Yixian actually translated the Chinese into English, and I turned it into a narrative antithesis,&amp;quot; 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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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====3.2 Analysis on Cultural-loaded Words====&lt;br /&gt;
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.&lt;br /&gt;
=====3.2.1 Analysis on Ecological Words=====&lt;br /&gt;
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.&lt;br /&gt;
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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.&lt;br /&gt;
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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 &amp;quot;Green Stream&amp;quot;, failing to realize the aesthetic transmission of the original text. In another version of translation, &amp;quot;Green Creek Hill&amp;quot; , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.&lt;br /&gt;
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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 &amp;quot;water&amp;quot;. 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.&lt;br /&gt;
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=====3.2.2 Analysis on Material Words=====&lt;br /&gt;
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 &amp;quot;production of transportation, daily necessities, food, medicine, clothing and measures, etc.&amp;quot;. Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.&lt;br /&gt;
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The word &amp;quot;杜鹃&amp;quot; was textured by Dai Naidie, who translated it into what readers of the target language will know as &amp;quot;Nightingale&amp;quot;. 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.&lt;br /&gt;
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=====3.2.3 Analysis on Social Words=====&lt;br /&gt;
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.&lt;br /&gt;
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“……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 &amp;quot;Che Lu&amp;quot; and “马路” as &amp;quot;Ma Lu&amp;quot; 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.&lt;br /&gt;
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“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 &amp;quot;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.&amp;quot;In this example, the word &amp;quot;妓女&amp;quot; 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 &amp;quot;妓女&amp;quot; in the excerpt as &amp;quot;girl&amp;quot; and &amp;quot;woman&amp;quot; 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.&lt;br /&gt;
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=====3.2.3 Analysis on Religious Words=====&lt;br /&gt;
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.&lt;br /&gt;
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“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 &amp;quot;alienation&amp;quot;. She translated “观音” into &amp;quot;a regular Guan Yin&amp;quot; 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.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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.&lt;br /&gt;
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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 &amp;quot;going out&amp;quot; of Chinese culture.&lt;br /&gt;
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===Reference===&lt;br /&gt;
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著. 边城 [M] The Border  Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.&lt;br /&gt;
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Guo Jianzhong郭建中.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, 1998(2):12-19.&lt;br /&gt;
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Guan Xia官霞.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, 2014, (17):139-141.&lt;br /&gt;
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Liu Minxia刘霞敏. 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. 2007 (02): 91-94.&lt;br /&gt;
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Mei Qing梅晴.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,2018,34(10):157-159+162.&lt;br /&gt;
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Qi Qi祁琦.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 &amp;quot;Border City&amp;quot; by Gladys &lt;br /&gt;
Dai and Yang Xianyi.海外英语 Overseas English,2020(09):163-164.&lt;br /&gt;
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Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲.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,2017(08):24-27.&lt;br /&gt;
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Tian Yi田艺. 译者行为批评视阈下《边城》中文化负载词英译对比研究[D] A Study on the Translation of Culture-loaded Words in Biancheng from the Perspective of Translator Behavior Criticism – Take the Example of Gladys Yang’s and Jeffrey C. Kinkley’s Translation Versions.北京外国语大学 Beijing Foreign Studies University,2019.&lt;br /&gt;
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Yin Lucheng, Liu Rurong尹泸程,刘汝荣.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,2020,20(01):124-128.&lt;br /&gt;
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Zhou Na周娜.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,2021,(42):125-126.&lt;br /&gt;
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=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''=&lt;br /&gt;
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胡舒情 Hu Shuqing, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_ 14]]&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
''Treatise on Febrile Caused by Cold'', written by Zhang Zhongjing in the late Eastern Han Dynasty, is one of the &amp;quot;Four Classics&amp;quot; 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.&lt;br /&gt;
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=== Key Words ===&lt;br /&gt;
cultrue-loaded words; Treatise on Febrile Caused by Cold; Tranditional Chinese medicine classics; translation strategies&lt;br /&gt;
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=== 题目 浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》 ===&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
《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。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文化负载词，《伤寒论》，中医典籍，翻译策略&lt;br /&gt;
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===1. Introduction===&lt;br /&gt;
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.&lt;br /&gt;
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===2. TheDefinition and Classification of Culture-loaded Words in Chinese Medical Classics ===&lt;br /&gt;
====2.1 The Definition====&lt;br /&gt;
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.&lt;br /&gt;
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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 &amp;quot;apple&amp;quot;, &amp;quot;pear&amp;quot; and &amp;quot;fire&amp;quot; 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.&lt;br /&gt;
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====2.2 The Classification====&lt;br /&gt;
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.&lt;br /&gt;
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===3. Translation Strategies Used for Culture-loaded Words in ''Treatise on Febrile Caused by Cold''===&lt;br /&gt;
====3.1 Translation Strategy of Culture-loaded Words of Syndrome====&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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“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 &amp;quot;Qi of Taiyang&amp;quot;, which is obvious on the body surface. This Qi has the function of protecting the body, also known as &amp;quot;Wei-qi&amp;quot;. 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.&lt;br /&gt;
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“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 &amp;quot;Greater&amp;quot; to indicate the prosperity of yang qi to help readers understand the degree of yang.&lt;br /&gt;
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“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 &amp;quot;Lesser&amp;quot; is used to correspond to &amp;quot;少&amp;quot; in the name.&lt;br /&gt;
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“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 &amp;quot;Greater&amp;quot; is similar to that of Yangming.&lt;br /&gt;
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“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.&lt;br /&gt;
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“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.&lt;br /&gt;
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====3.2 Translation Strategy of Culture-loaded Words of Symptom====&lt;br /&gt;
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.&lt;br /&gt;
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Example 1：阳浮者，热自发；阴弱者，汗自出。&lt;br /&gt;
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Translation：Floating at the surface signifies Heat weak in depth signifies spontaneous perspiration.&lt;br /&gt;
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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 &amp;quot;热&amp;quot; which refers to heat symptoms caused by an exopathgen as &amp;quot;Heat&amp;quot; or &amp;quot;pathogenic Heat&amp;quot;, and capitalized H to distinguish the &amp;quot;heat&amp;quot; from common heat. &lt;br /&gt;
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Example 2：鼻鸣干呕&lt;br /&gt;
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Translation：nauseous and with a tendency to snore&lt;br /&gt;
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In response to “干呕”, Luo uses the adjective “nauseous” to express &amp;quot;disgusting&amp;quot;. 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.&lt;br /&gt;
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Example 3：不下利，但呕者&lt;br /&gt;
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Translation：……not cause diarrhea, but rather cause nausea and vomiting&lt;br /&gt;
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“下利” refers to having the trots in Chinese medicine. The literal translation of &amp;quot;diarrhea&amp;quot; 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.&lt;br /&gt;
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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.&lt;br /&gt;
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====3.3 Translation Strategy of Culture-loaded Words of Prescription====&lt;br /&gt;
Treatise on Febrile Caused by Cold is the &amp;quot;ancestor of all prescriptions&amp;quot;, 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 &amp;quot;three insurances&amp;quot; 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.&lt;br /&gt;
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Example 1：芍药&lt;br /&gt;
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Translation：Radix Paeoniae&lt;br /&gt;
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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.&lt;br /&gt;
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Example 2：潦水&lt;br /&gt;
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Translation：rain water&lt;br /&gt;
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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.&lt;br /&gt;
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Example 3：苦酒汤&lt;br /&gt;
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Translation：decoction of Bitter Wine (Ku Jiu Tang)&lt;br /&gt;
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&amp;quot;苦酒汤&amp;quot; in Chinese medicine is actually rice vinegar. Luo translates it as &amp;quot;bitter wine&amp;quot;, which means wine with a bitter taste, which is not in line with the original meaning and can be misleading.&lt;br /&gt;
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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.&lt;br /&gt;
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====3.4 Translation Strategy of Culture-loaded Words of Philosophy====&lt;br /&gt;
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 &amp;quot;Yin and Yang&amp;quot; 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.&lt;br /&gt;
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Example 1：阴阳自和&lt;br /&gt;
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Translation：if yin and yang are still in harmony &lt;br /&gt;
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&amp;quot;阴阳自和&amp;quot; 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.&lt;br /&gt;
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Example 2：脉阴阳俱浮&lt;br /&gt;
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Translation：floating pulse at Yin and Yang&lt;br /&gt;
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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.&lt;br /&gt;
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Example 3：伤寒阴阳易之为病&lt;br /&gt;
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Translation：Febrile disease caused by Cold with Yin Yang Yi syndrome&lt;br /&gt;
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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.&lt;br /&gt;
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====3.5 Translation Strategy of Culture-loaded Words of Rhetoric====&lt;br /&gt;
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.&lt;br /&gt;
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Example 1四肢烦疼：&lt;br /&gt;
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Translation：the patient feels heavy and painful in the extremities&lt;br /&gt;
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The &amp;quot;烦&amp;quot; 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.&lt;br /&gt;
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Example 2：啬啬恶寒，渐渐恶风，翕翕发热&lt;br /&gt;
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Translation：The patient feels chill and fears wind, uneasy because of a fever.&lt;br /&gt;
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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.&lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
''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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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Munday J. Introducing Translation Studies: Theories and Applications[M].London and New York: Routledge, 2001:101-102.&lt;br /&gt;
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Newmark P. A textbook of translation[M].Hemel Hempstead:prentice Hall,1988:23.&lt;br /&gt;
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Chai Hui柴卉. 《伤寒论》方剂的英译研究[D] Research on Prescriptions in ''Treatise on Febrile Caused by Cold''.南京中医药大学 Nanjing University of Traditional Chinese Medicine,2010.&lt;br /&gt;
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Chai Hui柴卉，吴承艳 Wu Chengyan.浅谈《份寒论》方名翻译[J] Discussion on the Traslation of Prescriptions in ''Treatise on Febrile Caused by Cold''.光明中医 Guangming Chinese Medicine,2010.25(4):703-704.&lt;br /&gt;
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Cao Linyan曹琳琰. 生态翻译学视阈下《伤寒论》文化负载词英译策略研究[D] Research on the Translation Methods of Culture Loaded Words in ''Treatise on Febrile Caused by Cold'' from Eco-translatology Perspective.南京中医药大学 Nanjing University of Traditional Chinese Medicine,2016.&lt;br /&gt;
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Chen Zhile陈智乐,平文江 Ping Wenjiang.目的论视阈下《伤寒论》中文化负载词的英译策略研究——以罗希文译本为例[J] Research on the Translation Methods of Culture Loaded Words in ''Treatise on Febrile Caused by Cold'' from the Perspective of the Skopos Theory -- A Case Study of Luo Xiwen's Translation.海外英语 Overseas English,2021(06):59-60. &lt;br /&gt;
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Chen Zinuo谌子诺, Wang Jie王阶, He Haoqiang何浩强,沈艺 Shen yi.从《伤寒论》桂枝汤方证的英译谈中医文化负载词的英译方法[J] On the Translation Methods of Chinese Medicine Culture Loaded Words from the Translation of Decoction of Ramulus Cinnamomi in ''Treatise on Febrile Caused by Cold''.环球中医药 Global Traditional Chinese Medicine,2021,14(09):1697-1700.&lt;br /&gt;
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Fan Yanni范延妮.中医方剂文化负载词英译对比研究——以《伤寒论》为例[J] A Comparative Study of the Translation of Culture Loaded Words of Traditional Chinese Medicine Prescriptions——Taking ''Treatise on Febrile Caused by Cold'' as an Example.西部中医药 Western Journal of Traditional Chinese Medicine,2019,32(11):157-160.&lt;br /&gt;
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Liao Qiyi廖七一. 当代西方翻译理论探索[M]An Exploration of Contemporary Western Translation Theories.南京 Nanjing：译林出版社 Yilin Press, 2000:232.&lt;br /&gt;
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Gu feng谷峰.中医药文化传播视角下《伤寒论》中方剂名的英译[J] On the Translation of Prescriptions in ''Treatise on Febrile Caused by Cold''  from the Perspective of Cultural Communication of Traditional Chinese Medicine.中国中医基础医学杂志Chinese Journal of Basic Medicine in Traditional Chinese Medicine,2021,27(01):146-148+163.&lt;br /&gt;
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Hui Jiabei惠佳蓓. 关联理论与《伤寒论》文化负载词英译对比研究：基于两种译本[D]A Comparative Study of Different English Translations of Culture Loaded Words in ''Treatise on Febrile Caused by Cold''  from the Perspective of Relevance Theory: Based on Two Translation Versions.南京中医药大学 Nanjing University of Traditional Chinese Medicine,2011.&lt;br /&gt;
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Jiang Mingde蒋明德,何家武 He Jiawu.《伤寒论》阴阳涵义浅见[J]On the Meaning of Yin and Yang in ''Treatise on Febrile Caused by Cold''.贵阳中医学院学报Journal of Guiyang College of Traditional Chinese Medicine,1992(01):7-8.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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 &amp;amp; Philosophy,2020,41(02):61-65.&lt;br /&gt;
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Zhang Xuan张璇. 《黄帝内经》文化负载词英译研究[D] Research on the English Translation of Culturally Loaded Words in Huangdi Neijing.南京中医药大学Nanjing University of Traditional Chinese Medicine,2009.&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 14:07, 8 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=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''=&lt;br /&gt;
[[Cult_Load_Words_EN_15]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Culture-loaded words; Skopos theory; ''Xi Jinping: The Governance of China&lt;br /&gt;
''&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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)&lt;br /&gt;
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===1. Introduction===&lt;br /&gt;
====1.1 Research Backgrounds====&lt;br /&gt;
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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. &lt;br /&gt;
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From my perspective, &amp;quot;five-thousand-year-long history&amp;quot; is a little Chinglish, maybe &amp;quot;five-thousand-year history&amp;quot; is better.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:58, 13 December 2021 (UTC)&lt;br /&gt;
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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.&lt;br /&gt;
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====1.2 Research Significance====&lt;br /&gt;
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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.&lt;br /&gt;
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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?&lt;br /&gt;
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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.&lt;br /&gt;
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===2. Literature Review ===&lt;br /&gt;
====2.1 Culture-loaded Words====&lt;br /&gt;
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Nida proposed the theory of culture-loaded terms translation for the first time in 1945.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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====2.2 The Skopos Theory====&lt;br /&gt;
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.&lt;br /&gt;
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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 &amp;quot;offer of information in a target culture,&amp;quot; which is a result of constructivist comprehension theories.&lt;br /&gt;
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The Skopos Theory states that there are three basic rules.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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====2.3 The Translation Strategies of Culture-loaded Words====&lt;br /&gt;
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Wang Jianguo (2019) identified four limitations in translating culture-loaded words.&lt;br /&gt;
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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.&lt;br /&gt;
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Wang also classified translation strategies into three categories: literal translation, non-literal translation, and translating words with unique cultural information.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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===3. Analysis of Translation of Culture-loaded Words in ''Xi Jinping: The Governance of China''===&lt;br /&gt;
====3.1 Translation Strategy of Social Culture-loaded Words====&lt;br /&gt;
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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.&lt;br /&gt;
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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。&lt;br /&gt;
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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.&lt;br /&gt;
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“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.&lt;br /&gt;
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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.&lt;br /&gt;
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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。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
====3.2 Translation Strategy of Material Culture-loaded Words====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
TT: Achieving national rejuvenation will be no walk in the park; it will take more than drum beating and gong clanging to get there.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;drum beating and gong clanging,&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
In material culture-loaded terms, the aforementioned Chinese innovations fall under the category of &amp;quot;names.&amp;quot;  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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
====3.3 Translation Strategy of Linguistic Culture-loaded Words====&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;tried every possible means to seek the nation's salvation.&amp;quot; The coherence rule was followed in this case by making the reading process for the target text readers smooth and interrupted.&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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&amp;quot;, 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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
====3.4 Translation Strategy of Ecological Culture-loaded Words====&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;work all day like a donkey&amp;quot; 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. &lt;br /&gt;
&lt;br /&gt;
ST: 坚定不移“打虎”、“拍蝇”、“猎狐”&lt;br /&gt;
&lt;br /&gt;
TT: We have taken firm action to “take out tigers”, “swat flies”, and “hunt down foxes”.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;man-eaters,&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
ST: 深入开展调查研究，解剖麻雀，发现问题。&lt;br /&gt;
&lt;br /&gt;
TT: We should conduct in-depth research to identify prominent problems.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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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.&lt;br /&gt;
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		<author><name>Ding Xuan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Culture_loaded_words&amp;diff=132256</id>
		<title>Culture loaded words</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Culture_loaded_words&amp;diff=132256"/>
		<updated>2021-12-13T14:45:39Z</updated>

		<summary type="html">&lt;p&gt;Ding Xuan: /* 10 Chapter 10 : Translation of Culture-Loaded Words in The Concubine Market of Yangchow  of Lin Yutang's Version from the Perspective of Newmark’s Translation Theory */&lt;/p&gt;
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&lt;div&gt;'''Culture Loaded Words'''&lt;br /&gt;
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[[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do list]]&lt;br /&gt;
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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 =&lt;br /&gt;
[[Cult_Load_Words_EN_1]]&lt;br /&gt;
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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&lt;br /&gt;
=== Abstract ===&lt;br /&gt;
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.&lt;br /&gt;
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=== Key Words ===&lt;br /&gt;
Subtitle Translation; Farewell My Concubine; foreignizing method; domesticating method&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
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。&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
字幕翻译；霸王别姬；异化；归化&lt;br /&gt;
=== Introduction ===&lt;br /&gt;
1.1Research Background&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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. &amp;quot;Subtitles sometimes referred to as captions are transcriptions of film or TV dialogue presented simultaneously on the screen.&amp;quot; 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.&lt;br /&gt;
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）&lt;br /&gt;
&lt;br /&gt;
1.2 Brief Introduction to Farewell My Concubine&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
1.3 Brief Introduction to translator Linda Javin&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== Analysis the Translation of Culture-loaded Words ===&lt;br /&gt;
&lt;br /&gt;
2.1 Introduction to Culture-loaded Words&lt;br /&gt;
&lt;br /&gt;
Gonzalez Davies and Scott-Tennent (2008, p.783) put forward a definition of cultural references in detail, which is &amp;quot;expressions (audiovisual, verbal, textual,&lt;br /&gt;
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.&amp;quot; And in China, a scholar defines it as &amp;quot;the words, phrases and idioms that mark the unique things in a culture.&amp;quot; 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）&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
2.2 The Features of Subtitles in Farewell My Concubine&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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.  &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
2.3 Cases for Analysis&lt;br /&gt;
&lt;br /&gt;
2.3.1 Brief Introduction to Translation Strategies&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;foreignizing method&amp;quot; and the second method is called &amp;quot;domesticating method&amp;quot;. That is to say, domestication is oriented by target language, while foreignization is oriented by source language.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
2.3.2 Cases of Translation Methods &lt;br /&gt;
&lt;br /&gt;
2.3.2.1 Literal Translation&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
E.g.1世卿世受国恩&lt;br /&gt;
&lt;br /&gt;
岂敢昧法？&lt;br /&gt;
&lt;br /&gt;
更不敢当众违背天理良心。&lt;br /&gt;
&lt;br /&gt;
The government has always been good to me,&lt;br /&gt;
&lt;br /&gt;
I wouldn't dare deceive the court.&lt;br /&gt;
&lt;br /&gt;
Nor would I betray the laws of Heaven or my own conscience.&lt;br /&gt;
&lt;br /&gt;
“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 &amp;quot;literal translation&amp;quot; principle, Linda brings &amp;quot;Heaven&amp;quot; into her translation. In Christian culture, &amp;quot;Heaven&amp;quot; serves as the source of various moral concepts and systems. &amp;quot;Heaven&amp;quot; and &amp;quot;God&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
E.g.2磨剪子来，镪菜刀&lt;br /&gt;
&lt;br /&gt;
Bring your knives for sharpening? Sharpen your knives.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Sharpen your scissors, sharpen your knives&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
E.g.3什么时候洞房花烛夜啊？&lt;br /&gt;
&lt;br /&gt;
What’s the time of Candle-lit-night in the Bridal Chamber?&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
E.g.4横扫一切牛鬼蛇神！&lt;br /&gt;
&lt;br /&gt;
Sweep away all Cow Demons and Snake Spirits! &lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Cow Demons and Snake Spirits&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
2.3.2.2 Free Translation&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
E.g.1他祖师爷不肯赏饭吃，谁也没辙。&lt;br /&gt;
&lt;br /&gt;
But I have no place for him. What can I do?&lt;br /&gt;
&lt;br /&gt;
“祖师爷” is similar to &amp;quot;forefathers&amp;quot; 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 &amp;quot;destiny&amp;quot; &amp;quot;fate&amp;quot; or &amp;quot;god&amp;quot; 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, &amp;quot;destiny&amp;quot; is the most ideal choice to express the original meaning. Considering all these factors, Linda uses the strategy of &amp;quot;free translation&amp;quot; to put it as &amp;quot;I have no place for him&amp;quot; to refuse Little Bean's mother. Thus, she makes the lines easier to understand, and meanwhile, to avoid leading to a cultural misunderstanding.&lt;br /&gt;
&lt;br /&gt;
E.g.2今儿个是破题儿，文章还在后头哪！&lt;br /&gt;
&lt;br /&gt;
This is just the beginning. Wait till you see what's in store.&lt;br /&gt;
&lt;br /&gt;
“破题” once appeared in &amp;quot;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 &amp;quot;the first time&amp;quot;. From the translated version, it's clear that the translation of “破题” as &amp;quot;beginning&amp;quot; exhibits that the subtitle translator, Linda Javin, is quite familiar with the usage of the old Chinese words. &lt;br /&gt;
&lt;br /&gt;
E.g.3真他妈想当太太奶奶啦你！&lt;br /&gt;
&lt;br /&gt;
做你娘的玻璃梦去吧。&lt;br /&gt;
&lt;br /&gt;
你当出了这门，把脸一抹擦，你还真成了良人了？&lt;br /&gt;
&lt;br /&gt;
So you want to become a rich man's wife!&lt;br /&gt;
&lt;br /&gt;
Go live out this goddamn fantasy' then&lt;br /&gt;
&lt;br /&gt;
Don't think that when you walk out this door, you'll become a lady of virtue.&lt;br /&gt;
&lt;br /&gt;
“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 &amp;quot;grandmother&amp;quot; &amp;quot;lady&amp;quot; or something like these. Besides, “良” means &amp;quot;good, kind&amp;quot;, but here, “良人” doesn't mean &amp;quot;a good, kind or nice-hearted person&amp;quot;, instead, it refers to the woman who has abandoned prostitution and become a traditional honest and good woman. Linda's translation of &amp;quot;a lady of virtue&amp;quot; is quite authentic and loyal to the original text. &lt;br /&gt;
&lt;br /&gt;
E.g.4那么日后踏雪访梅，再谈不迟。&lt;br /&gt;
&lt;br /&gt;
Ah, then we shall exchange poetic thoughts some other day.&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
E.g.4这武二郎碰上西门庆，不打，不打能成吗？&lt;br /&gt;
&lt;br /&gt;
You know the old story about Pan Jinlian's husband meeting the man who screwed her? Did he have any choice but to fight?&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
E.g.5这妞够厉害的呀！&lt;br /&gt;
&lt;br /&gt;
What a dragon lady!&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;dragon&amp;quot; in Western countries means more evil than good. Its fierceness and grisly outlooks make people feel uncomfortable. Thus, &amp;quot;a dragon lady&amp;quot; here, on the one hand, can show Ju Xian's courage for true love; on the other hand, the image of &amp;quot;dragon&amp;quot; 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 &amp;quot;dragon&amp;quot; clearly shows her comprehensive  consideration for the complicated circumstance then.&lt;br /&gt;
&lt;br /&gt;
E.g.6关师父：各位爷，多捧场了啊! &lt;br /&gt;
&lt;br /&gt;
Master Guan: Ladies and gentlemen, enjoy the show!  &lt;br /&gt;
&lt;br /&gt;
“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 &amp;quot;Ladies and gentlemen&amp;quot;, 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 &amp;quot;support our show&amp;quot;. However, the English convention has it as &amp;quot;enjoy the show.&amp;quot; The translator thus conforms to target conventions to avoid deviation from audience's &amp;quot;expectancy norms&amp;quot; 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. &lt;br /&gt;
&lt;br /&gt;
E.g.7小石头：嗬，够横的你。&lt;br /&gt;
&lt;br /&gt;
Shitou: You are really something.  &lt;br /&gt;
&lt;br /&gt;
“横” in Beijing dialect means harsh and unreasonable, &amp;quot;Be (quite or really) something&amp;quot; is an informal expression referring to a person or a thing is of consequence. In the above example, the replacement of “横” by &amp;quot;be really something&amp;quot; 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 &amp;quot;You're unreasonable&amp;quot;, it would be too straightforward.&lt;br /&gt;
&lt;br /&gt;
2.3.2.3 Generalization&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
 &lt;br /&gt;
E.g.1不罚，不罚你永远是下三滥。&lt;br /&gt;
&lt;br /&gt;
还想成角？做梦。&lt;br /&gt;
&lt;br /&gt;
And if I don't punish you, you'll always be third-rate.&lt;br /&gt;
&lt;br /&gt;
You want to be a great actor? Dream on!&lt;br /&gt;
&lt;br /&gt;
“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 &amp;quot;the third rate&amp;quot;, 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. &lt;br /&gt;
&lt;br /&gt;
E.g.2依我看，只要是唱西皮二黄，它就是京戏。&lt;br /&gt;
&lt;br /&gt;
I say if it uses the traditional forms, then it’s the Beijing Opera.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Xipi Erhuang&amp;quot; is a professional term in drama. &amp;quot;Xipi&amp;quot; and &amp;quot;Erhuang&amp;quot; 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 &amp;quot;Xipi&amp;quot; and &amp;quot;Erhuang&amp;quot; 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 &amp;quot;the traditional forms&amp;quot; to give the audience an abstract understanding.&lt;br /&gt;
&lt;br /&gt;
E.g.3反正这两杯子也沾上了四旧了&lt;br /&gt;
&lt;br /&gt;
Anyway, jade cups were part of the old society&lt;br /&gt;
&lt;br /&gt;
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”. &amp;quot;四旧&amp;quot; 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 &amp;quot;Anti-road Construction&amp;quot;, &amp;quot;Dongfeng Store&amp;quot; and &amp;quot;Red Guard War School&amp;quot; , destroying the authority of &amp;quot;bourgeois reactionary academic authorities&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
E.g.4尘世中，男子阳污，女子阴秽&lt;br /&gt;
&lt;br /&gt;
There is foulness in both men and women. &lt;br /&gt;
&lt;br /&gt;
This sentence comes from the mouth of Mr Yuan, a drama addict. The word &amp;quot;尘世&amp;quot; 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 &amp;quot;尘世&amp;quot; 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 &amp;quot;阳污&amp;quot; to &amp;quot;man&amp;quot; and &amp;quot;阴秽&amp;quot; to &amp;quot;woman&amp;quot;, the translation will only overlap meaning, resulting the translation not authentic.&lt;br /&gt;
&lt;br /&gt;
E.g.5来给师哥勾勾脸&lt;br /&gt;
&lt;br /&gt;
Will you give me a hand with my make up?&lt;br /&gt;
&lt;br /&gt;
The facial makeup in Peking Opera is a special makeup method. The traditional facial makeup mainly refers to clean facial painting. &amp;quot;勾脸&amp;quot; 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 &amp;quot;make up&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
2.3.2.4 Specification&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
E.g.1别介，都是下九流谁嫌弃谁啊&lt;br /&gt;
&lt;br /&gt;
Don’t be foolish. Prostitutes and actors are equally despised by society.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;三教九流&amp;quot; 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 &amp;quot;inferior&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
E.g.2小爷我今儿练的是九转金炉的火丹功。 &lt;br /&gt;
&lt;br /&gt;
I have been practicing Kungfu to keep myself warm.&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
2.3.2.5 Omission&lt;br /&gt;
&lt;br /&gt;
Being opposed to &amp;quot;addition&amp;quot;, 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.&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
I'll give you something to look at.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
E.g.2他这一亮相,那台底下听戏的人不都吓跑了。&lt;br /&gt;
&lt;br /&gt;
He would scare off the audience&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;his appearance&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
E.g.3陈:唉，袁四爷今儿个来看戏  &lt;br /&gt;
&lt;br /&gt;
段:没见我盖着唢呐唱吗？把血都挣出来了&lt;br /&gt;
 &lt;br /&gt;
Chen: So, Master Yuan has come to see us tonight.&lt;br /&gt;
&lt;br /&gt;
Duan: I know. I sang so loudly I drowned out the horns. &lt;br /&gt;
 &lt;br /&gt;
“今儿个” is a typical time indicator in Beijing dialect. It usually refers to &amp;quot;today&amp;quot;. In view of the context, it can also be translated as &amp;quot;tonight&amp;quot;. 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 &amp;quot;drive the blood out&amp;quot; and &amp;quot;do very hard&amp;quot; in the real sense. &amp;quot;I sang so loudly&amp;quot; is added to facilitate understanding. The translator also makes efforts to find the most understandable way from the target culture.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
3.1 The Conclusion&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
3.2 Advice &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;domestication&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
===References ===&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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）.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
=2 谢庆琳 The Analysis of the Chinese Translation of Culture-loaded Words in Russian =&lt;br /&gt;
[[Cult_Load_Words_EN_2]]&lt;br /&gt;
&lt;br /&gt;
谢庆琳 Xie Qinglin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=== Abstract ===&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== Key Words ===&lt;br /&gt;
Russian Culture-loaded Words; Translation Principles; Translation Strategies&lt;br /&gt;
&lt;br /&gt;
=== 题目 分析俄语文化负载词的中文翻译 ===&lt;br /&gt;
&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
&lt;br /&gt;
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。 &lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
俄语文化负载词；翻译原则；翻译策略&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== Introduction ===&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== Culture-loaded Words ===&lt;br /&gt;
&lt;br /&gt;
==== Definition of Culture-loaded Words ====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;national cultural accumulation&amp;quot;, that is, cultural connotation. This article is an analysis of Russian cultural-loaded words, reflecting mostly about the Russian national culture.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==== Classification of Culture-loaded Words ====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== Translation Principles and Strategies of Russian Culture-loaded Words ===&lt;br /&gt;
&lt;br /&gt;
==== Translation Principles of Russian Culture-loaded Words ====&lt;br /&gt;
&lt;br /&gt;
===== The Principle of Faithfulness to the Original Text =====&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
In the passage of «Судьба Человека»: &amp;quot;… а я уже на ничьей земле между воронками петляю не хуже зайца&amp;quot; (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.&lt;br /&gt;
If we do not take into account the author's real intention and turn it into &amp;quot;no less than a timid rabbit&amp;quot;, we are not being faithful to the original text, but rather making a faux pas. Therefore, this sentence&lt;br /&gt;
should be translated as &amp;quot;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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===== Contextual Principal =====&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;powerful&amp;quot; and sometimes means &amp;quot;heavy&amp;quot;. 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.&lt;br /&gt;
&lt;br /&gt;
===== Principle of Appropriateness of Explicit and Implicit =====&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
For example, in Russian,“кричать во всю Ивановскую” literally means &amp;quot;shouting at Ivan Square&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
==== Translation Strategies of Russian Culture-loaded Words ====&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;direct translation (phonetic translation) plus annotation&amp;quot;, &amp;quot;direct translation with free translation&amp;quot; and &amp;quot;free translation&amp;quot; for cultural-loaded words and so on.&lt;br /&gt;
&lt;br /&gt;
====== Direct Translation (Phonetic Translation) plus Annotation ======&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;Sarah&lt;br /&gt;
A&amp;quot; with a note stating that the sarafan is a traditional Russian folk dress without sleeves.&lt;br /&gt;
&lt;br /&gt;
====== Direct Translation with Free Translation ======&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;колосс на глиняных ногах&amp;quot; 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 &amp;quot;giant with feet of clay&amp;quot; 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: &amp;quot;Мы видим, что империализм, который казался таким непреодолимым колосом, казался на глазах у всех колоссом на глиняных ногах.&amp;quot; (刘永红：2002) The whole sentence should be translated as &amp;quot;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.&lt;br /&gt;
&lt;br /&gt;
===== Free Translation =====&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;китайская грамота&amp;quot; literally means &amp;quot;Chinese word&amp;quot;, &amp;quot;Chinese character&amp;quot;, 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 &amp;quot;heavenly book, incomprehensible, inexplicable thing&amp;quot;. “Для него это китайская грамота” translates as &amp;quot;He doesn't know anything about it&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
=== The Translation Difficulties of Russian Culture-loaded Words ===&lt;br /&gt;
&lt;br /&gt;
==== Translatability of  Culture-loaded Words in Russian ==== &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
==== Factors Affecting the Translation of Culture-loaded Words in Russian ====&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;look at things and take images&amp;quot;, 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 &amp;quot;jianghu&amp;quot; as an example. &amp;quot;Jianghu&amp;quot; is another new word with changed connotation and extension, which is composed of the concepts of &amp;quot;river&amp;quot; and &amp;quot;lake&amp;quot;. The word &amp;quot;jianghu&amp;quot; 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 &amp;quot;jianghu&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
&lt;br /&gt;
There is a growing awareness that language is just an international communication tool&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Barkhudarov L. S. Language and translation. (1975) Questions of the general and private theory of translation[M]. Moscow: International relations.&lt;br /&gt;
&lt;br /&gt;
Kozhin A. N. (1982) Functional types of Russian speech. [M]. Moscow: Vysshaya shkola.&lt;br /&gt;
&lt;br /&gt;
Rosenthal D.E. (1987) Practical stylistics of Russian language. [M]. Moscow: Vyssnaya shkola.&lt;br /&gt;
&lt;br /&gt;
Fedorov A. V. (2002) Fundamentals of the general theory of translation. [M]. Moscow: High School.&lt;br /&gt;
&lt;br /&gt;
Yuriev A. N. (2005) Types and styles of speech. [M]. Moscow: Almaty.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=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 =&lt;br /&gt;
[[Cult_Load_Words_EN_3]]&lt;br /&gt;
&lt;br /&gt;
=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=&lt;br /&gt;
[[Cult_Load_Words_EN_4]]&lt;br /&gt;
&lt;br /&gt;
=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=&lt;br /&gt;
[[Cult_Load_Words_EN_5]]&lt;br /&gt;
&lt;br /&gt;
=== Abstract ===&lt;br /&gt;
Based on the ecological translation theory, this article takes Yang Xianyi and Dai Naidie’s translation of cultured loaded words in Dou E Yuan, a drama in Yuan Dynasty, as the research object, and analyze how the translators deliver the culture information to the foreign readers in terms of language dimension, culture dimension and communication dimension to promote the valid dissemination of drama culture in English-speaking countries. Also this article hopes to provide an effective reference for the current drama translation by analyzing the merits and deficiencies of Yang and Dai’s Translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words ===&lt;br /&gt;
Culture loaded words; Ecological translation theory; Drama&lt;br /&gt;
&lt;br /&gt;
=== 题目 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 ===&lt;br /&gt;
&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
本文基于生态翻译学理论，以元代戏剧、杨宪益和戴乃迭译本《窦娥冤》中的文化负载词为研究对象，探究译者如何从语言维、文化维和交际维对戏剧中文化负载词进行翻译，并把这些词所承载的文化信息有效地传递给目标受众，以促进元代杂剧文化在英语国家的有效传播。本文也同时希望通过分析杨戴译本的优缺点给当前的戏剧翻译提供有效的参考。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
文化负载词；生态翻译学理论；戏剧&lt;br /&gt;
&lt;br /&gt;
=== Introduction ===&lt;br /&gt;
==== Background ====&lt;br /&gt;
Chinese drama is the artistic treasure of Chinese classical culture and an important part of Chinese culture. In order to make the Chinese drama culture go out and let more foreign readers appreciate it, translation plays a very key role as a communicating bridge. However, due to the complexity of drama language and its historical culture, drama translation is difficult. To convey its original culture connotations as much as possible, an appropriate translation strategy is required. At present, there are many translation theories. This article chooses to study Yang Xianyi and Dai Naidie’s translation of Dou E Yuan based on the ecological translation theory for two reasons. First, Yang Xianyi and Dai Naidie are excellent translators and they are good at translating traditional Chinese works. Doing research on their translations can make us learn a lot from them. Second, drama translation readers are not only the text readers, but also the directors, actors and audiences, so the translator needs to consider how to properly deal with the drama translation elements in the ecological environment. In this way, the ecological translation is necessary when we are translating dramas. &lt;br /&gt;
&lt;br /&gt;
==== Relevant basic concepts ====&lt;br /&gt;
1. Culture loaded word &lt;br /&gt;
&lt;br /&gt;
Culture loaded words, also known as unique culture words and culture connotation words, are the words or phrases that indicate things and concepts which belong to a certain culture. They only exist in a certain culture and can’t be found in another culture. According to the classification of Eugene A. Nida, culture loaded words can be roughly divided into five types, which are the ecological words, material words, social words, religious words and linguistic culture words.&lt;br /&gt;
&lt;br /&gt;
2. Dou E Yuan &lt;br /&gt;
&lt;br /&gt;
Dou E Yuan is a representative Yuan miscellaneous drama written by Guan Hanqing, and it’s also a model of Yuan miscellaneous drama tragedies. It is based on the folk story of Filial Women in the East China Sea in the Eastern Han Dynasty. And it is very popular with people of that time and has high value in the culture aspect. About 86 dramas have adapted from it. In the aspect of art, it reflects the integration of realism and romantic style. With rich imagination, bold exaggeration and the design of the surreal plot, it shows the huge power of justice, embodies the author's distinct love and hate, and reflects the people’s desire to punish the evildoers and fulfill the justice.&lt;br /&gt;
&lt;br /&gt;
3. Structure of the study&lt;br /&gt;
&lt;br /&gt;
This study is comprised of five parts, which are the introduction, literature review, theoretical basis, body and conclusions. In the introduction part, the background and the relevant basic concepts are introduced to help readers understand this article better. In the literature review part, this article will review the domestic research on the translations of Chinese dramas. In the theoretical basis part, I will introduce the ecological translation theory, including its definition and its three dimensions——language dimension, the culture dimension and the communication dimension. In the body part, the English translation of Dou E Yuan is analyzed in terms of those three dimensions. This study will choose some typical examples to analyze, which comes from the translation of Yang Xianyi and Dai Naidie. In the end, the conclusions and suggestions will be proposed based on the analysis in the Part four. &lt;br /&gt;
&lt;br /&gt;
4. Significance of the study&lt;br /&gt;
&lt;br /&gt;
This study has significance both in theory and practice. In the theory aspects, this study will fill the blank of the research on English translation of Dou E Yuan in terms of ecological translation theory. In the practice aspect, this study may promote the application of ecological transition theory in more translations. I also hope it can delight translators in translating dramas.&lt;br /&gt;
&lt;br /&gt;
=== Literature review ===&lt;br /&gt;
&lt;br /&gt;
In terms of the domestic researches, I find that domestic researches mainly concentrate on three aspects: 1) Analyze translations based on some theories, such as functional translation theory, ecological translation theory, rewriting theory, teleology and correlation theory（林阿立 2021；王醒醒 2014；黄志芳 2014；褚雪琪 2020）. 2) Analyze the current problems in translations（孟伟根 2009；吕世生等2015）. 3) Study some famous translators’ styles of translating, such as Ying Ruocheng, Yu Guangzhong, Wang Zuoliang（程瑞勇 2007；黎昌抱 2008；陈瑶瑶 2019）. From the researches above, we can see there are lots of scholars doing studies on translations based on various theories, including the ecological translation theory. So I search “Dou E Yuan” on CNKI to see if there are scholars have done studies on the translation of Dou E Yuan based on ecological translation theory. However, there is only one paper related to the ecological translation theory. And it just does the research in terms of culture dimension and doesn’t fully apply the theory. In this way, this article may have a value of reference in some degree by make a complete analysis of Dou E Yuan based on ecological theory and help us learn from Yang and Dai’s translation strategies.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical basis ===&lt;br /&gt;
&lt;br /&gt;
Ecological translation was put forward by Professor Hu Gengshen of Tsinghua University. He combined Darwin's basic principles of &amp;quot;natural selection&amp;quot; with the translation research work, and creatively put forward the view that &amp;quot;translators should adapt to the translation ecological environment and accept the control of the translation ecological environment&amp;quot;. He believes that &amp;quot;translation is an activity in which translators should adapt to and select the translation ecological environment&amp;quot;. This definition of the translation makes the translators be in the center during the translating process. He also advocates that translators should give full play to their subjective initiative and focus on the three dimensions, which are language, culture and communication. Here are the detailed introductions of these three important dimensions in ecological translation. &lt;br /&gt;
&lt;br /&gt;
1. Language adaptability&lt;br /&gt;
&lt;br /&gt;
The language dimension translation of culture loaded words requires the real translation environment to be included into the target translation text. Translators should make effective conversions between the word pronunciation and semantic, word collocation, grammar structure and discourse layout to ensure that the translation can accurately convey the real meaning of the culture loaded words from the source language, and make them adapt to the expression habits of the target language utmost。&lt;br /&gt;
&lt;br /&gt;
2. Culture adaptability&lt;br /&gt;
&lt;br /&gt;
The culture dimension translation of culture loaded words requires the translator to compare and analyze the culture backgrounds and connotations of the source language and target language to realize the effective conversions between culture connotations which are from different culture backgrounds and to prevent the occurrence of culture misunderstanding or culture ambiguity phenomenon.&lt;br /&gt;
&lt;br /&gt;
3. Communication adaptability&lt;br /&gt;
&lt;br /&gt;
The communication dimension translation of culture loaded words requires the translator to translate in terms of objective, true and accurate translation principles and effectively convey what the original author or discourse speaker intends to express emotional attitude and communication information to achieve the real communication utility.&lt;br /&gt;
&lt;br /&gt;
From the introduction above, we can see that ecological translation requires the translator, also the center, to make a comprehensive analysis of translation adaptation conditions and conduct valid conversions between the three dimensions to achieve a good effect in translations, which is challenging for translator but meaningful for translation.&lt;br /&gt;
&lt;br /&gt;
=== Multi-dimensional analysis of English translation of Dou E Yuan ===&lt;br /&gt;
&lt;br /&gt;
Ecological translation theory requires translators to have a good comprehension of those three dimensions and make proper conversions between them. Yang and Dai are famous translators in the world. They have translated many ancient Chinese literary works, including novels, proses, dramas and so on, which are widely and highly praised. Dou E Yuan is one of them. Below, we will use the ecological translation theory to analyze it. Hope that we can learn from them, but also can make some advice about the deficiencies meanwhile.&lt;br /&gt;
&lt;br /&gt;
==== Adaptive selection of language dimension ====&lt;br /&gt;
&lt;br /&gt;
Adaptive selection of language dimension requires translators to make adaptive conversions in language level when translating. The most basic part of the adaptive selection is the word meaning conversion. However, the word meaning conversion is not a &amp;quot;word to word conversion&amp;quot; in the traditional sense, but needs the translator to adapt to the language characteristics of the source works when translating, and then selectively reflect them in the translation. Let's take a look at Yang and Dai's handling of Dou E Yuan text based on the language dimension.&lt;br /&gt;
&lt;br /&gt;
  Example1: ''莫不是八字儿该载着一世忧？''&lt;br /&gt;
  Is it my fate to be wretched all my life?&lt;br /&gt;
&lt;br /&gt;
“八字”is an eight-word method of traditional numerology in ancient China. From the perspective of traditional numerology, it can deduce the development direction of people's life, which is unchangeable. Yang and Dai translates “八字”into “fate”, which means “the power that is believed to control everything that happens and that cannot be stopped or changed”. We can see these two meanings are similar. In this way, foreign readers can understand the translation text better.&lt;br /&gt;
&lt;br /&gt;
  Example2: ''我当初将你嫁与他家呵，要你三从四德。三从者：在家从父，出嫁从天，夫死从子；四德者：事翁姑，敬夫主，和妯娌，睦街坊，此乃为之 &lt;br /&gt;
  四德。今乃三从四德全无，刬地犯了十恶大罪。常言道，事要前思，免劳后悔。我窦家三辈无犯法之男，五世无再婚之女。''&lt;br /&gt;
  When I married you to the widow’s son, I expected you to observe the Three Duties and Four Virtues. The Three Duties are obedience to &lt;br /&gt;
  your father before marriage, obedience to your husband after marriage, and obedience to your son after your husband’s death. The Four &lt;br /&gt;
  Virtues are to serve your parents-in-law, to show respect to your husband, to remain on good terms with your sisters in-law, and to &lt;br /&gt;
  live in peace with your neighbors. But regardless of your duties, you have committed the gravest crime of all! The proverb says: Look &lt;br /&gt;
  before you leap, or you may be sorry too late. For the generations no son of our clan has broken the law; for five generations no &lt;br /&gt;
  daughter has married again.&lt;br /&gt;
&lt;br /&gt;
In China, “三从四德” refers to the moral standards that restrict women by feudal ethics. Yang and Dai translates “三从四德” to &amp;quot;Three Duties and Four Virtues&amp;quot; and “从” to &amp;quot;duties&amp;quot;, which realizes a very appropriate conversion in language dimension. According to the Oxford dictionary, the &amp;quot;duty&amp;quot; means “something that you feel you have to do because it is your moral or legal responsibility”, which is similar to the meaning of “从”——women have to comply with their father, husband and son based on moral standards. So Yang and Dai make a good conversion between these two words and make it easier for readers to grasp the meaning of “三从四德”.&lt;br /&gt;
&lt;br /&gt;
  Example3: ''道可道，非常道。名可名，非常名。''&lt;br /&gt;
  The law that can be told is not the invariable law; the names that can be named are not invariable names.&lt;br /&gt;
&lt;br /&gt;
In my opinion, translating “道”into “law” is not appropriate. “道”in China refers to “the essence of the universe”, which reflects Chinese traditional Taoism. However, law in English means “the whole system of rules that everyone in a country or society must obey”. They don’t have the same meaning and the latter doesn’t have any religious meaning. So it’s difficult for foreign readers to understand this word. I suggest that maybe we can just translate “道”into “Dao” and add some explanations to it. In this way, it’s not only easy for foreign readers to understand the text but also make them know some knowledge about Taoism.&lt;br /&gt;
&lt;br /&gt;
==== Adaptive selection of culture dimension ====&lt;br /&gt;
&lt;br /&gt;
The adaptive selection of culture dimension requires translators to be of a high translation level. Translators should not only have a good understanding of the local culture, but also be familiar with the language and culture of the translation. Then, they should fully understand the culture differences between the two. In this way can the original culture connotation of the text be conveyed to foreign readers as much as possible. Let's look into Yang and Dai's translation of Dou E Yuan text based on the culture dimension.&lt;br /&gt;
&lt;br /&gt;
  Example4: ''窦娥冤''&lt;br /&gt;
  Snow in midsummer&lt;br /&gt;
&lt;br /&gt;
Instead of translating the title “窦娥冤” into Dou E Yuan directly, Yang and Dai use words with Chinese culture connotation to express it. &amp;quot;Snow in midsummer&amp;quot; in traditional Chinese culture means that there are mistrials, which is also one of the plots of Dou E Yuan. If they adopt the direct translation method and translate “冤”into “injustice”, the title may lose the culture connotation and can’t relate to the plot closely. Therefore, the translator adopts this translation method is to try his best to convey the culture connotation, so that readers can have more understanding of Chinese traditional culture.&lt;br /&gt;
&lt;br /&gt;
  Example5: ''那一个似孟光般举案齐眉？''&lt;br /&gt;
  Or like Meng Guang，who showed such respect to her husband?&lt;br /&gt;
&lt;br /&gt;
“举案齐眉”is a four-character idiom in Chinese that describes husband and wife who respect and love each other. Yang and Dai adding &amp;quot;showed such respect to her husband&amp;quot; in the translation can help readers understand the meaning of this idiom easier and more clearly.&lt;br /&gt;
&lt;br /&gt;
  Example6: ''你去那受刑法尸骸上列些纸钱，看你那化去孩儿面。''&lt;br /&gt;
  Burn some paper coins to my headless corpse, For the sake of your dead son.&lt;br /&gt;
 &lt;br /&gt;
“纸钱”is a product of Buddhism after it was brought into China. It refers to a kind of ghost coins which is used in folk to worship ghosts, gods and the dead. This custom of burning paper money originated in the Wei, Jin, Northern and Southern dynasties, flourished in the Tang and Song dynasties, and passed down to today. The translation &amp;quot;paper coins&amp;quot; appears to be the same with the meaning of original text, but it does not reflect the Buddhist ideas. So foreign readers may not get the culture connotations of “纸钱”. So translators should make some explanatory notes about it to convey the precise meaning of “纸钱”。&lt;br /&gt;
&lt;br /&gt;
  Example7: ''那里有走边廷哭倒长城？那里有浣纱时甘投大水？那里有上山来便化顽石？'' &lt;br /&gt;
  Where is the woman whose tears for her husband Caused the Great Wall to crumble? Where is she who left her washing And drowned herself &lt;br /&gt;
  in the stream? Where is she who is changed into stone Through longing for her husband?&lt;br /&gt;
&lt;br /&gt;
  Example8: ''这婆娘心似风刮絮，那里肯身化作望夫石，旧恩情倒不比新佳配。他则百年为婚眷，那里肯千里送寒衣?'' &lt;br /&gt;
  Now her heart is like a willow seed in the breeze, Not steadfast as a rock. Old love is nothing to new love: She wants to live with &lt;br /&gt;
  this new man for ever, Without a thought for the other man far away. &lt;br /&gt;
&lt;br /&gt;
The two examples include four allusions, one is Meng Jiangnv crying on the Great Wall; the other is in the Spring and Autumn Period, Wu Zixu fled out of the Zhaoguan and felt very hungry. Then a woman who was washing her clothes gave him a bun. Wu told the woman his real name, but after a while, he was also afraid that the woman would tell others. Seeing Wu’s suspicion, the woman threw herself into the river to commit suicide. The third is a legend, which is about a faithful woman whose husband left to join the army, then she went to the northern mountain of Wuchang with her weak son, looking over for her husband and turning into a stone. The last allusion is Meng Jiangnv walked for thousands of miles to send her husband winter clothes. The four allusions with abundant culture connotations reflect the profound Chinese culture and history. It can be seen from the translation, Yang and Dai have made great efforts and attempts to try to restore the story behind the allusion. However, in order to meet foreign readers’ needs to have a deep understanding of Chinese culture, it is recommended to provide a more detailed explanation.&lt;br /&gt;
&lt;br /&gt;
  Example9: ''枉着你烦恼没理会，人生死是轮回。'' &lt;br /&gt;
  It’s no use grieving for him; all mortal men must die when their time is up.&lt;br /&gt;
&lt;br /&gt;
  Example10: ''莫不是前世里烧香不到头，这前程事一笔勾。劝今世早将来世修。''Did I burn too little incense in my last life, that my &lt;br /&gt;
  marriage was unlucky? We should all do good betimes.&lt;br /&gt;
&lt;br /&gt;
  Example11: ''我才看头一宗文卷，就与老夫同姓；这药死公公的罪名，犯在十恶不赦。''&lt;br /&gt;
  Curious that the first culprit’s surname should be the same as mine! To murder one’s father-in-law is one of the unpardonable &lt;br /&gt;
  crimes. &lt;br /&gt;
&lt;br /&gt;
The three examples above reflect Buddhist thought. In the example 9, “轮回”also known as “流转” and “轮转”, means that human live and then die, die and then live, all life and death are not the end. It is just like the wheel rotation which never stops cycling. The concepts of “前世” and “今生” are derived from this. However, Yang and Dai don’t express this meaning in the translation. In the example10, “烧香” is a ritual in Buddhism. People ignite the incense and insert it in the incense burner to express their sincere respect to Buddha when they are in worship. Yang and Dai don’t explain the meaning of “烧香”to the readers, which may make the readers feel confused of it. In example 11, “十恶”, a term in Buddhism, refers to ten evil behaviors that would be punished by the hell, hungry ghosts and beasts. Similarly, Yang and Dai don’t make a detailed explanation about it. It will be difficult for foreign readers to understand these words with profound culture connotations. So I think translators should pay more attention to the culture words when translating and try to make good conversions.&lt;br /&gt;
&lt;br /&gt;
  Example12: ''门神户尉不放我进去。我是廉访使窦天章女孩儿。因我屈死，父亲不知，特来托一梦与他咱。''&lt;br /&gt;
  Now the door-gods will not let me pass. I am the daughter of Inspector Dou. Though I died unjustly, my father does not know it; so I &lt;br /&gt;
  have to come to visit in his dreams.&lt;br /&gt;
&lt;br /&gt;
  Example13: ''若说的有半厘差错，牒发你城隍祠内，我着你永世不得人身，我把你罚在阴山永做饿鬼。'' &lt;br /&gt;
  If you utter one false world, I shall send you to the tutelary god; then your spirit will never re-enter human form, but remain a &lt;br /&gt;
  hungry ghost forever in the shades. &lt;br /&gt;
&lt;br /&gt;
The two examples above all reflect the Taoist thought. In example12, “门神护尉” is the official of the hell.“托梦”, in Taoist and folk beliefs, means that if ghosts and gods want to express something, they can appear in people's dreams and tell them, or tell them in the form of various scenes and predict good or bad fortune.“阴山” and “城隍寺” are the names of the locations in the hell. In the above translation, Yang and Dai follow the communicative ethics, but the &amp;quot;tutelary god&amp;quot; does not seem to correspond in the original text, and the connotation of &amp;quot;god&amp;quot; is far from the concept of Chinese Taoist &amp;quot;emperor&amp;quot;. So I think Yang and Dai should not only make conversions between words, but also add some background knowledge about those words for a better understanding for readers.&lt;br /&gt;
&lt;br /&gt;
  Example14: ''自家赛卢医''&lt;br /&gt;
  I am Doctor Lu  &lt;br /&gt;
&lt;br /&gt;
“卢医” represents Bian Que here, a famous doctor in ancient China.“赛卢医” means that he is boasting his medical skill which even can be comparable to Bian Que. However, foreign readers do not know the story of Bian Que. So if it is translated literally, it will not be understood by readers. Yang and Dai omit the “赛” and only translated it as &amp;quot;Dr. Lu&amp;quot;, which would inevitably destroy the aesthetic connotation and artistic tension of the original work. Maybe Yang and Dai can introduce Bian Que appropriately so that readers are able to know exactly what “赛卢医” means.&lt;br /&gt;
&lt;br /&gt;
==== Adaptive selection of communication dimension ====&lt;br /&gt;
&lt;br /&gt;
In the actual translation process, except to considering about the transmission of culture connotation and the transformation of language information, translators should also focus on the adaptive selection of communication dimension. And they should pay attention to whether the communicative intention in the original text is reflected in the translation. Language is an important tool to realize the communicative intentions of both sides, and translation is an important means to achieve &amp;quot;cross-language, culture and temporal communication&amp;quot;. In translating dramatic culture load words, translators should not only realize the culture value and meaning of such words, but also realize their communicative intentions.&lt;br /&gt;
&lt;br /&gt;
  Example14: ''相公，他是告状的，怎生跪着他。''&lt;br /&gt;
  Your honor, this is a citizen who’s come to ask for justice. Why should you kneel to him?&lt;br /&gt;
  Example15: 小人是原告张驴儿便是，告媳妇儿合毒药药死俺老子，望大人与孩儿做主。&lt;br /&gt;
  I am the plaintiff. I accuse the young woman, Dou E, of poisoning my father with soup. Let justice be done. Your honor!&lt;br /&gt;
&lt;br /&gt;
There is a difference between Chinese and western officialdom culture. In China, there are many names for different officials, while in western countries, they can only use the words &amp;quot;Your Honor&amp;quot; or &amp;quot;His or Her Excellency&amp;quot;. So translating“相公”and “大人”as “Your honor” is very proper here, which is easy for English readers to understand. It’s no need to convey the connotation of the official names, which would make the translation more complex.&lt;br /&gt;
&lt;br /&gt;
  Example16: ''既将你出嫁从夫，便学习廉耻仁义。全不思九烈三贞，到犯了十恶大罪。''&lt;br /&gt;
  As a married woman, you should have studied the propriety and morality, but instead you penetrated the most terrible crime.&lt;br /&gt;
&lt;br /&gt;
“九烈三贞” is an idiom, and is also the moral standard that restricts women in ancient China. The feudal society used it to praise women of the chastity. Yang and Dai translate it as &amp;quot;the propriety and morality&amp;quot;, and do not translate the numbers “九” and “三”, which is a good translation. Because “九” and “三”here are not actual numbers, but represent a broad concept. So there is no need to translate it into &amp;quot;nine kinds of proprieties&amp;quot; and &amp;quot;three kinds of&amp;quot; moralities &amp;quot;.Translating in this way not only makes the text more concise, but also facilitates the readers to understand it.&lt;br /&gt;
&lt;br /&gt;
=== Conclusions ===&lt;br /&gt;
&lt;br /&gt;
Based on the ecological translation theory, I analyze Yang Xianyi and Dai Naidie's translation of Dou E Yuan from the three basic principles of ecological translation theory —— language, culture and communication dimension to learn Yang and Dai’s skills for translating culture loaded words. I also boldly point out the inappropriate translation and put forward suggestions based on my own limited knowledge. As we can see from the above analysis, a good translation must comprehensively consider the three dimensions of language, culture and communication and make adaptive selections between them. In terms of language dimension, translators should find the corresponding words in the translation culture to replace the words in the original text without destroying the original meaning. In culture dimension, translators can introduce the background of culture loaded words by adding annotations, tail notes or in other ways to make readers understand the culture connotations behind the words, and then understand the connotation of the whole discourse better. In communication dimension, translators are required to pay attention to the communicative function of the words and convey the communicative intention of the original text. They should not blindly pay attention to the meanings, which will make the text more complicated and make readers confused. The three dimensions are interrelated and also indispensable. Based on these three dimensions, translators should actively adapt to the different ecological environments of translation, and flexibly choose the translation methods, so as to effectively convey the traditional Chinese drama culture to foreign readers and promote the effective dissemination of Chinese drama culture.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Eugene A. Nida.(2001). Language, culture and translating. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Yang Yun 阳赟.(2012).适应与选择——《窦娥冤》英译文化维适应性探究[Adaptation and selection of —— Study on English translation of Dou E Yuan in terms of culture adaptability]. 辽宁医学院学报(社会科学版) Journal of Liaoning Medical College (Social Sciences Edition),(4)128-130.&lt;br /&gt;
&lt;br /&gt;
Jiang Xiaoping, Luo Yun蒋晓萍,罗云.(2020).生态翻译学视域下中国饮食文化负载词翻译研究——以《世说新语》英译本为例[Study on culture loaded words of Chinese food under the horizon of ecological translation theory——take the English translation of Shi Shuo Xin Yu as an example].广州大学学报(社会科学版) Journal of Guangzhou University (Social Sciences Edition),(5)54-61.&lt;br /&gt;
&lt;br /&gt;
YangXianyi, Dai Naidie杨宪益,戴乃迭.(2001).关汉卿杂剧选(一) ［Guan Hanqing miscellaneous drama selection(1)］.Beijing: Foreign language Press外文出版社.&lt;br /&gt;
&lt;br /&gt;
YangXianyi, Dai Naidie杨宪益,戴乃迭.(2001).关汉卿杂剧选(二) ［Guan Hanqing miscellaneous drama selection(2)］. Beijing: Foreign language Press外文出版社.&lt;br /&gt;
&lt;br /&gt;
Wang Mengnan王梦楠.(2015).《窦娥冤》文化缺省现象分析[Analysis of the culture deficiency of Dou E Yuan].浙江工业大学学报(社会科学版) Journal of Zhejiang University of Technology (Social Science Edition),(3)340-344.&lt;br /&gt;
&lt;br /&gt;
Lin Ali林阿立.(2021)功能翻译理论视角下的中国传统戏曲翻译[Translation of traditional Chinese opera from the perspective of functional translation theory].哈尔滨学院学报Journal of Harbin College,(8)106-109.&lt;br /&gt;
&lt;br /&gt;
Wang Xingxing王醒醒.(2014).改写理论视角下的戏剧翻译研究[Study on dramatic translation from the perspective of rewriting theory].Jiangsu: Nanjing Normal University南京师范大学.&lt;br /&gt;
&lt;br /&gt;
Huang Zhifang黄志芳.(2014).目的论视角下的中国古典戏剧翻译研究[Research on the translation of Chinese classical drama from the view of objective theory].Jiangxi: Finance and Economics University Of Jiangxi江西财经大学.&lt;br /&gt;
&lt;br /&gt;
Chu Xueqi褚雪琪.(2020).从关联理论视角看戏剧翻译的可表演性[See the performability of drama translation from the perspective of association theory].Beijing: China University of Geosciences (Beijing)中国地质大学(北京).&lt;br /&gt;
&lt;br /&gt;
Meng Weigen孟伟根.(2009).论戏剧翻译研究中的主要问题[On the main problems in the study of drama translation].外语教学Foreign Language Teaching,(3)95-99.&lt;br /&gt;
&lt;br /&gt;
Lv Shisheng, Hu Yinpeng吕世生,胡茵芃.(2015).中国戏剧对外翻译的目标语文化接受问题[Target reader’s reception of translated versions of Chinese theater].中国社会科学院研究生院学报Journal of the Graduate School of the Chinese Academy of Social Sciences,(5)110-114.&lt;br /&gt;
&lt;br /&gt;
Cheng Ruiyong程瑞勇.(2007).英若诚及其戏剧翻译研究[Study on Ying Ruocheng and his drama translation].Shandong: Shandong University山东大学.&lt;br /&gt;
&lt;br /&gt;
Li Changbao黎昌抱.(2008).王佐良翻译风格研究[Research on Wang Zuoliang's translation style].Shanghai: Shanghai International Studies University上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
Chen Yaoyao陈瑶瑶.(2019).余光中戏剧翻译研究[Study on drama translation ofYu Guangzhong].Shanxi: Shanxi University山西大学.&lt;br /&gt;
&lt;br /&gt;
=6 杜莉娜 On the Translation of Culture-loaded Words in Chinese Tourism Texts from the Perspective of Intercultural Communication—Exemplified by Zhangjiajie=&lt;br /&gt;
[[Cult_Load_Words_EN_6]]&lt;br /&gt;
&lt;br /&gt;
=7 宫博雅 An analysis of the Chinese translation of culture-loaded words in Russian Idioms =&lt;br /&gt;
[[Cult_Load_Words_EN_7]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Language is the carrier of culture, and the characteristics of language also reflect the characteristics of culture. Culture is closely related to language. In-depth understanding and exploration of culture is conducive to language learning and better use of language for communication. Idiom as a fixed structure in language expression, with profound cultural connotation, is an important part of a national culture. Russian idioms are the concentration of the essence of Russian national culture, including Russian history, religion, national thinking, cultural customs, local customs and other unique national characteristics. In the process of language development, each nation has accumulated its own unique culture-loaded words. These words are loaded with the unique cultural connotation of this nation and express the rich cultural color of this nation. Due to different cultural backgrounds and historical development tracks, Russian contains many words, phrases and idioms that represent unique things in Russian culture. From the perspective of Nida's cultural classification, this paper analyzes the Chinese translation of culture-loaded words in Russian idioms, which is helpful to promote the study of Russian language and deepen the understanding of Russian traditional culture and Russian national psychology.&lt;br /&gt;
===Key words===&lt;br /&gt;
Culture-loaded Words; Russian idioms; Russian culture&lt;br /&gt;
=== 题目 ===&lt;br /&gt;
俄语成语中文化负载词的中文翻译分析&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
语言是文化的载体，语言的特性同时也体现了文化的特性，文化与语言紧密相关。对文化的深入了解和探究有助于语言的学习和更好的运用语言进行交际。成语作为固定的结构存在于语言表达中，具有深刻的文化内涵，是一个民族文化的重要表现部分。俄语成语是俄罗斯民族文化精华的浓缩，其中包含俄罗斯历史、宗教、民族思维、文化习俗、风土人情等特有的民族特点。语言发展的进程中，每个民族都积累了本民族特有的文化负载词。这些词语负载着本民族独特的文化内涵，表现本民族丰富的文化色彩。由于不同的文化背景和历史发展轨迹，俄语中包含许多代表俄罗斯文化中特有事物的词、词组和习语。本文以奈达的文化分类为视角，分析俄罗斯成语中文化负载词的中文翻译，有助于促进对俄罗斯语言的学习，进一步加深对俄罗斯传统文化及俄罗斯民族心理的了解。&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
文化负载词；俄语成语；俄罗斯文化&lt;br /&gt;
===Introduction===&lt;br /&gt;
Nowadays, with the sound development of relations between China and Russia and the deepening of exchanges in all aspects, a better understanding of Russian culture can further strengthen bilateral exchanges and cooperation. Culture-loaded words are words, phrases and idioms that mark the unique things in a certain culture. They directly reflect the unique activities of a particular nation that have been gradually accumulated in the long historical process and are different from other nations. At the lexical level, cultural differences between the two countries are reflected in culture-loaded words. Idioms, as the essence of language, contain rich cultural connotations, reflect national character and reflect social changes. The analysis of the Chinese translation of culture-loaded words in Russian idioms can help us trace the origin of Russian culture, go deep into the core of Russian culture, and explore the significance of Russian culture. According to Nida's classification of language and cultural characteristics, this paper tries to have a deep understanding of Russian culture and make tiny contributions to cross-cultural communication and translation through the analysis of Chinese translation of culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
===1.The meaning of culture-loaded words===&lt;br /&gt;
Culture-loaded words are the cultural labels of a nation, which have distinct cultural characteristics and play an important role in the development and dissemination of culture. Liao Qiyi said, &amp;quot;Culture-loaded words refer to words, phrases and idioms that mark things unique to a certain culture. These words reflect the unique activities of a particular ethnic group that have gradually accumulated in the long course of history and are different from other ethnic groups.&amp;quot;When some foreign words are translated into Chinese, they cannot find their exact corresponding or equivalent words, thus forming culture-loaded words. Culture-loaded words are also called culture-unique words and culture-connotation words. They are deeply marked by the region and times of a certain language society, and are words (phrases) expressing the things and concepts peculiar to a certain culture. Such words not only carry rich cultural connotations, but also &amp;quot;exist only in one culture and are blank in another culture&amp;quot;. Just because I have characteristics that you do not have, they are often obstacles to cross-cultural communication and translation.&lt;br /&gt;
&lt;br /&gt;
===2. Classification of culture-loaded words===&lt;br /&gt;
According to Nida's classification of cultural factors, culture-loaded words can be divided into five categories. The first category is ecological culture-loaded words, which usually refer to the plants and animals, geographical environment, climate change and other related words in a specific region. The second category is material culture-loaded words, which refer to the specific material products in different cultures. Generally, they refer to words including food, clothing, housing and transportation. The third category is the social culture-loaded words, which usually involve the words of social etiquette, social identity, leisure and entertainment, such as local conditions and practices, traditions, social rules, religious moral standards, historical background, ideology and so on. For example, different cultures have different festivals and celebration customs, and people give different meanings to color words. The fourth category is religious culture-loaded words, which generally reflect the cultural beliefs of a certain nation. The fifth category is language culture-loaded words. Different nations have different speaking ways and habits, which are reflected in pronunciation, vocabulary, syntax and other aspects.&lt;br /&gt;
&lt;br /&gt;
===3. Translation methods of culture-loaded words===&lt;br /&gt;
1. Substitution&lt;br /&gt;
Substitution method is a translation method that converts the cultural images in the source language into the cultural images familiar to the target readers. When the cultural images of the source language words are quite different from those familiar to the target readers, it is difficult for the target readers to understand, so the alternative translation method can be adopted.&lt;br /&gt;
2. Interpretation&lt;br /&gt;
Interpretation is a method of interpretative translation of words. Some words exist in both Chinese and Japanese languages, but due to the change of national culture, such words have different connotations in the two nations and are easily confused by translators and readers. At this point, the real meaning of the source words is supplemented by interpretation.&lt;br /&gt;
3. Annotation&lt;br /&gt;
Annotation is a translation method that is faithful to the source language. When the cultural information contained in a word is relatively simple, the translation method of in-text annotation can be adopted. When the cultural information contained in the vocabulary is long, the method of footnote can be adopted.&lt;br /&gt;
&lt;br /&gt;
===4. Culture-loaded words in Russian idioms===&lt;br /&gt;
No matter in Chinese or Russian, there are many words with rich cultural characteristics, especially in many idioms, speech, slang and dialects, with rich cultural connotations. Russian idiom is a language unit composed of two or more stress components with fixed structure and integral meaning. Generalized Russian idioms include proverbs, sayings, idioms, fixed phrases of parole or called idiomatic phrases; In the narrow sense, Russian idioms only include idioms and idiomatic fixed phrases. This paper analyzes the Chinese translation of culture-loaded words in Russian idioms from a broad perspective. Russian can reflect the culture and way of thinking of a nation, with rich cultural connotation and distinctive national characteristics. As the essence of Russian traditional culture, Russian idioms can fully reflect the vivid and vivid Russian national culture, fully reflect the Russian nation's daily life behavior habits, value orientation and traditional customs. As the concentration and essence of Russian national language, Russian idioms are of great significance to the study of Russian and Russian national culture. It can reflect the lifestyle of the Russian nation, the character of the Russian people and cultural connotation. The research on the characteristics and translation methods of Russian idioms can help us understand Russian language and culture in a deeper level. It also gives us a unique glimpse of the world's brilliant culture.&lt;br /&gt;
&lt;br /&gt;
General translation methods of Russian idioms&lt;br /&gt;
(1) Translation of equivalent idioms&lt;br /&gt;
There are some idioms that are basically the same in terms of literal meaning, inner meaning, word image, and implied philosophy in Russian and Chinese. We can use the corresponding translation method to translate these idioms, that is, the formal word-by-word translation. When translating these counterparts, the context can be ignored, as long as the translator keeps in mind the corresponding equivalents. This type of idioms can be translated using literal translation, that is, a translation method that maintains the content of the original idiom without changing the rhetorical characteristics. E.g:&lt;br /&gt;
　　1.Беда не приходит одна-祸不单行. Among them, &amp;quot;беда&amp;quot;, &amp;quot;не&amp;quot;, and &amp;quot;приходит одна&amp;quot; respectively have the same literal meaning and image of words as &amp;quot;祸&amp;quot;, &amp;quot;不&amp;quot; and &amp;quot;单行&amp;quot; in Chinese, and their philosophical meanings are also the same.&lt;br /&gt;
　　2. Куй железо, пока горячо-趁热打铁. Among them, &amp;quot;куй&amp;quot;, &amp;quot;железо&amp;quot;, and &amp;quot;пока горячо&amp;quot; correspond to the Chinese words &amp;quot;打&amp;quot;, &amp;quot;铁&amp;quot;, and &amp;quot;趁热&amp;quot; respectively.&lt;br /&gt;
　　3. Лучше один раз увидеть, чем сто раз услышать — 百闻不如一见.&lt;br /&gt;
　　4. Век живи, век учись — 活到老，学到老.&lt;br /&gt;
(2) Translation of similar idioms&lt;br /&gt;
approximate idioms are also called semi-equivalence idioms, which refer to the same literal meaning, inner meaning, and philosophical meaning of the Russian and Chinese idioms, but the image of the words is partly the same, and partly different. Free translation is usually used when dealing with the translation of such idioms. The so-called free translation method is to convert the image of an idiom in one language into another language as much as possible without losing its meaning. For example: Правда глаза колет-忠言逆耳. &amp;quot;Правда&amp;quot; and &amp;quot;колет&amp;quot; in Russian are the same as &amp;quot;忠言&amp;quot; and &amp;quot;刺痛&amp;quot; in Chinese; however, &amp;quot;глаза&amp;quot; (眼睛) in Russian is not the same as &amp;quot;耳朵&amp;quot; in Chinese. The image needs to be changed when translating. Similar idioms are: как грибы после дождя-如雨后春笋. When грибы (蘑菇) is translated into Chinese, it becomes &amp;quot;春笋&amp;quot;.&lt;br /&gt;
(3)Translation of non-equivalent idioms&lt;br /&gt;
Non-equivalent idiom refers to the national culture contained in the Russian idiom that is unique to the Russian nation and is unfamiliar to the Han nation. This kind of idioms are usually translated using creative methods, that is, without changing the meaning of one language idiom, using the most appropriate interpretation of another language for translation. There are generally two ways of creativity: literal translation + free translation, such as мало каши ел (喝很少的粥)-经验不足, use &amp;quot;каша&amp;quot; to refer to experience; выжимать соки (挤果汁)-榨取血汗, use &amp;quot;сок&amp;quot; refers to blood and sweat, labor; literal translation + comment, such as червонный валет (红桃 &amp;quot;J&amp;quot;)-花花公子, using playing cards to refer to the macaroni（纨绔子弟）; мелкая сошка (小木犁)-无名小卒, using small things to refer to Little people. The paraphrase and annotations here are equivalent. ездят в тулу со своим самоваром (带着茶炊去图拉)-没有必要，多此一举, it involves the cultural and national conditions, Tula is a place rich in teapots, so it is unnecessary to take a samovar to Tula.&lt;br /&gt;
====4.1 Ecological culture-loaded words in Russian idioms====&lt;br /&gt;
As we all know, Russia is a vast country with vast resources. The unique vast land area has created a unique geographical environment in Russia, while breeding a variety of animals and plants on the Russian land.&lt;br /&gt;
&lt;br /&gt;
Crows have a bad connotation in the eyes of the Russian people and are often seen as a bad omen. &amp;quot;белая ворона -白乌鸦&amp;quot; refers to a person who is out of place(特立独行的人), and this idiom is used in Russian with a sense of disapproval. Crows are usually black, but white crows are very strange. &amp;quot;ворон считать - 数乌鸦&amp;quot; means eating the bread of idleness(游手好闲). Usually people with nothing to do have time to count crows. &amp;quot;ворона в павлиньих перьях - 伪装成孔雀的乌鸦&amp;quot; is a person who adorn oneself with borrowed plumes(装腔作势的人). Sparrows are also common in Russian idioms. Sparrow action speed is very fast, in &amp;quot;слово не воробей, вылетит - не поймаешь - 话语如麻雀，出口追不回&amp;quot;as a metaphor of a gentleman's word can't be chased(君子一言驷马难追). There are also &amp;quot;стреляный воробей&amp;quot; refer in particular to sophisticated man (老于世故的人，老油条). Similar words for &amp;quot; старого воробья на мякине не проведёшь посл -秕糠捉不住老鸟&amp;quot;are refers to the sophisticated people are not easily deceived(久经世故之人不易受骗).&lt;br /&gt;
&lt;br /&gt;
In Chinese and Russian idioms, different animals and plants are often used to describe the same phenomenon due to different historical and cultural backgrounds. In Russian, the word &amp;quot;Брать быка за рога (抓住牛角)&amp;quot; has a similar meaning with the Chinese word &amp;quot;抓住牛鼻子&amp;quot;, which means destroying the leader and the gang will collapse(擒贼先擒王). &amp;quot;Метать бисер перед свиньями(猪前撒珠)&amp;quot; is like &amp;quot;对牛弹琴&amp;quot;. It means speaking truth to unreasonable people and speaking elegance to those who do not understand beauty.&lt;br /&gt;
&lt;br /&gt;
Crocodile tears - &amp;quot;крокодиловы слёзы&amp;quot; refers to false compassion假慈悲. According to ancient Western legends, crocodiles are both ferocious and cruel as well as cunning and crafty. When it peeps into people, livestock, animal fish and other prey objects, often will first shed tears, like mercy, so that you were paralyzed by the illusion of its sudden attack to lose vigilance, in a state of no defense by it fiercely swallowed. Another said, is the crocodile will be captured after the prey, greedily swallowed at the same time, will shed crocodile tears. In short, it's a metaphor for false tears, fake sympathy. Later, it is conventionally extended to satirize those insidious and crafty people who harm others while pretending to be compassionate and kind.&lt;br /&gt;
&lt;br /&gt;
====4.2 Material culture-loaded words in Russian idioms====&lt;br /&gt;
Russia has its own unique cultural material products, these cultural characteristics reflected in all aspects of clothing, food, housing and transportation.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;первый блин всегда комом - 第一张薄饼是一团&amp;quot; means all things are difficult before they are easy(万事开头难). &amp;quot;блин - 薄饼&amp;quot; is a kind of unique Russian food. It is round in shape, symbolizing the bright sun and heralding the coming of spring and the lengthening days. &amp;quot;блин - 薄饼&amp;quot; is also a staple in the traditional Slavic festival - Maslenitsa. To &amp;quot;ездят в тулу со своим самоваром - 带着茶炊去图拉&amp;quot; is to make a waste of time(多此一举). Tula is a place name in Russia, where the samovar is abundant, so it is unnecessary to take the samovar to Tula.&amp;quot;за семь вёрст киселя хлебать - 跑七里路去喝一口羹(没有必要)&amp;quot; and &amp;quot;седьмая вода на киселе - 羹里的第七滴水(八竿子打不着的亲戚)&amp;quot;. Among them &amp;quot;кисель(甜羹)&amp;quot; is also native food to the Russian nation. It can be made from almost any kind of fruit and berries, fresh and dried, fruit and pulp juices, syrups, jams, and milk with potato starch or corn starch. There are also non-sweet-tasting ones made from vegetables like peas. &amp;quot;по ерёме колпак кафтан - 捉襟见肘&amp;quot; and &amp;quot;тришкин кафтан - 什么样的人就戴什么样的帽子(恰如其分)&amp;quot;. &amp;quot;кафтан(男长衣)&amp;quot; in this idiom is a kind of long coat with belted waist and floor-length sleeves worn by Russian men in the old days, which was very popular in Russia before the 20th century. &amp;quot;садиться не в свои сани - 坐在别人的雪橇上(不称职、对职务不能胜任)&amp;quot;, the word &amp;quot;сани(雪橇)&amp;quot; in this idiom is one of the most common means of transport for Russians in winter.&lt;br /&gt;
&lt;br /&gt;
====4.3 Religious culture-loaded words in Russian idioms====&lt;br /&gt;
Most people in Russia are religious, but most of the Idioms in Russian with religious cultural overtones are derived from Western Christianity.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Дорого яичко к Христову дню - 送红鸡蛋要赶复活节&amp;quot; refers to do not send umbrellas after rain, refers to do good deeds must be timely(不要雨后送伞、做好事必须及时), Easter is a very important traditional Festival in Russia, is to commemorate the resurrection of Jesus after the death. Easter eggs to prepare cooked eggs (Easter eggs), boiled eggs coated with red, yellow, blue, coffee, green, purple and other colors, when the guests come, the host gives an egg, to symbolize the prosperity of life.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;не все коту масленица - 不是全年都是谢肉节&amp;quot; means that the good times will not last long and the feast will not come again(好景不长、盛宴难再). This idiom comes from the Maslenitsa culture of Russian national religion. The festival of Maslenitsa originated in the Eastern Orthodox Church. Meat and entertainment are forbidden during the 40-day Maslenitsa period. Thus, in the week before the start of Ramadan, people indulge in orgies and families eat meat to make up for the ascetic lifestyle of fasting. Hence the name of the Festival.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;козёл отпущения&amp;quot; refers to a scapegoat(替罪羊). At that time, the ancient Jews had such a ritual in life. When the day of confession came, the highest priest would put his hands on the head of the live goat, which indicated that the sin of all mankind would be transferred to the goat, and the goat would be banished to the desert. In Russian national and religious culture, this idiom is usually used to mean that people take the blame for others.&lt;br /&gt;
&lt;br /&gt;
The Influence of Christianity on Russian idioms is very profound. Pushkin, the great Russian writer and poet, pointed out that the birth of Christianity was the greatest spiritual and political turning point on our earth, and the world died and was born in this sacred environment. It can be said that Christianity has played an extremely important role in human history, especially in western social life and cultural development. Since 988, when The Archduke of Kievan Rus established Christianity as the state religion, most Of the Russian people believe in Christianity, and there are about 200 idioms and fixed words from the Bible. A large number of Idioms in Russian derive from the Bible. The Bible is a Christian classic, including the Old Testament and the New Testament in 66 volumes. With the development of history and the evolution of language, idioms derived from the myths and legends of the Bible and the teachings and precepts of the Gospels have entered the Russian standard language and acquired new meanings. Now, through the study of Russian idioms from the Bible, analysis of their source text interpretation, use characteristics, we can see the influence of the Bible on Russian from the side.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;в поте лица - 汗流满面&amp;quot; From &amp;quot;Old Testament·Genesis&amp;quot; (Chapter 3, Section 19), God says to Adam, the father of mankind, when he sinned and drove him out of the Garden of Eden for eating from the tree of good and evil: &amp;quot;В поле лица твоего будешь есть хлеб, доколе не возвратишься в землю, из которой ты взят, ибо прах ты и в прах возвратишься.” - 你必须汗流满面才有饭吃，直到你归于尘土，因为你是由土而来的；你即是灰土，还要归于灰土.&amp;quot; &amp;quot;Волк в овечьей шкуре 或 волк (напялил) на себя овечью шкуру - 披着羊皮的 狼&amp;quot; from &amp;quot;New Testament Gospel of Matthew&amp;quot; (Chapter 7, Section 15), &amp;quot;Берегитесь лжепророков, которые приходят к вам в овечьей одежде, а внутри суть волки хищные - 你们要提防假先知! 他们来 到你们跟前,外披羊皮,内心却是凶残的豺狼.&amp;quot; &amp;quot;Кто не работает, тот не ест - 不劳动者不得食&amp;quot; originally derived from &amp;quot;The New Testament·2 Thessalonians&amp;quot;: &amp;quot;Ибо когда мы были у вас, то завещевали вам сие: если кто не хочет трудиться, тот не ест. - 当我们在你们那里的时候，早已吩咐过你们：谁若不愿意工作就不应当吃饭.&amp;quot; &amp;quot;продать (предать) за тридцать сребреников(кого) - 为三十块银币而出卖某人&amp;quot; from &amp;quot;the New Testament Gospel of Matthew&amp;quot;. The story tells that judas, one of The twelve disciples of Jesus, got thirty pieces of silver from the priest and sold Jesus to the Jewish authority. Then he took the opportunity to bring many people with knives and clubs to the house of Jesus and his disciples and arrested Jesus. As a result, Jesus was crucified. According to the statistics of the Dictionary of Russian Idiom etymology, there are more than 1400 Russian idioms in the book, among which 161 are derived from the Bible or related to them, accounting for 11.5%. It can be seen that the Bible has a deep influence on Russian.&lt;br /&gt;
&lt;br /&gt;
====4.4 CultureSocial culture-loaded words in Russian idioms====&lt;br /&gt;
Russia has a long history and diverse social customs. Many unique Russian cultural phenomena are reflected in Russian idioms.&lt;br /&gt;
&lt;br /&gt;
During the Soviet Union, some words and languages produced under the background of The Times had unique meanings and connotations of the society at that time. The &amp;quot;Красный уголок&lt;br /&gt;
(红角)&amp;quot; was a place for cultural and educational activities in the Soviet Union. Russian idioms also reflect their national cultural characteristics through their lexical composition. Some words in these idioms are not equivalent words. &amp;quot;Фертом стоять (смотреть, ходить, глядеть, выглядеть. . . ) - 趾高气扬、威武自负、洋洋自得的样子&amp;quot; The word is an ancient name of the Russian letter &amp;quot;ф&amp;quot;, which resembles a man standing erect with his hands akimbo, so the meaning of the whole idiom is to place his hands between the waist in a confident, aggressive posture. Other similar Russian idioms include &amp;quot;На ять - 顶呱呱，呱呱叫&amp;quot; and &amp;quot;Лезть на рожон - 铤而走险&amp;quot;. The idiom &amp;quot;Чувство локтя - 站队时保持一肘距离的习惯&amp;quot; is used in the spirit of supporting friendly troops and helping each other(支持友军的精神，互助精神). The word &amp;quot;Белый - 白色的&amp;quot; in idioms sometimes conveys a negative meaning. The idiom &amp;quot;Показать белое перо - 展示白羽毛&amp;quot; comes from a cockfight. In fights between roosters of different colors, red, red, and black roosters were found to be more aggressive, biting off the tail feathers of timid white roosters. So this idiom means to be defeated and laughed at(被打败，被嘲笑). &amp;quot;Белый - 白色的&amp;quot; in this idiom means &amp;quot;cowardice, cowardice, and submission.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Culture-loaded words, as their name implies, carry the culture of a particular nation or country, which are closely related to the culture they carry. This sets up difficulties for translators when translating such expressions. If the translation only stays on the surface and ignores the cultural connotation of the words, it will lead to the loss of culture. In addition, another point worth the translator's attention is that the conceptual meaning and connotative meaning of culture-loaded words are often inconsistent. This requires us to flexibly choose appropriate translation strategies in translation to convey the connotation and meaning of culture-loaded words as far as possible, so as to ensure the readability of the translated text and retain the flavor of the original text to facilitate cultural exchange and communication.&lt;br /&gt;
&lt;br /&gt;
Differences in cultural systems and language systems, and difficulties in translation, lead to misunderstandings in the translation of culturally loaded words, and it is difficult to deeply grasp the core of culture and make it fully presented in front of us.&lt;br /&gt;
There are several situations in the translation and translation effect of culturally loaded words:&lt;br /&gt;
1) Omission-complete lack of cultural connotation;&lt;br /&gt;
2) Simple transliteration-whether the cultural connotation is transmitted or not depends on the degree of communication of the word and the cultural level of the target language reader;&lt;br /&gt;
3) Transliteration plus annotations-cultural information is conveyed, but it is likely to damage the readability of the story or cause the translation to be cumbersome;&lt;br /&gt;
4) Replacement imagery and even complete domestication-the cultural connotation of the original word disappears, but it is easy for readers of the target language to understand.&lt;br /&gt;
It can be seen that several translation strategies are not superior in the absolute sense. For the translation of culturally loaded words, the translator must not only have a deep language foundation, but also an encyclopedia-like knowledge structure, and must be careful and patient in the translation process. Culture-loaded words belong to micro-culture, and their distinctive and strong cultural color is an indispensable part of Russian culture. Although they will inevitably &amp;quot;make a facelift&amp;quot; in the process of translation, resulting in the loss of some information, translators should still work hard to understand the cultural connotations of the original language and the target language in order to build a bridge for communication and understanding between the two sides.&lt;br /&gt;
&lt;br /&gt;
Culture is a complex social phenomenon, which is the sum total of a nation's knowledge, experience, value, rank, religion and concept of time and space. It has distinct national and regional characteristics and is used in all areas of a certain society. Language is only a part of culture, any language is a reflection of a certain culture, language is the carrier of culture, language and culture are inseparable. Russian and Chinese are both languages with a long history, yet each belongs to a completely different language family. Their differences are not only reflected in the form of language (pronunciation, grammar), but also show the rich cultural characteristics of words. Because the objectivity of language, social and cultural are casting together, language is a nation created in the long-term productive labor and social practice and service for them, so their words are bound to the social reality of the nation, the native living habits and way of thinking, language, psychology, behavior norms, moral values, political ideas and cultural traditions, and deeply stamped with this nation, this region and this era. Therefore, Russian and Chinese words are bound to carry their own specific cultural connotations. To understand the culture of a nation, in addition to observing its actual behavior, what is more important is that we can study their language, especially through the study of language vocabulary to understand their cultural traditions and connotation in the culture. Because vocabulary contains abundant cultural information, it is an important content for better cross-cultural communication.&lt;br /&gt;
&lt;br /&gt;
To sum up, Russian idioms are an important part of Russian national culture, which fully reflect the Russian nation's daily lifestyle, beliefs, customs and psychological characteristics. Russian idioms content is rich and colorful characteristics, by strengthening the study of Russian idiom learning, can help us deeply understand the master to the traditional customs of ethnic russians, and correct use of Russian language, add more glory for language expression, and to avoid in the process of Russian social expression appeared a slip of the tongue, affect each other on both sides of the normal communication smoothly.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
[1]于建华.俄语成语与俄罗斯民族文化研究[J].散文百家,2019(11):222.&lt;br /&gt;
[2]王发金.俄语成语文化的研究[J].旅游纵览(下半月),2017(22):237.&lt;br /&gt;
[3]袁顺芝.俄汉翻译中的语言文化现象及其处理方法[J].中国俄语教学,2014,33(04):40-44.&lt;br /&gt;
[4]司道权.浅析俄语成语的特点及翻译方法[J].品牌,2015(03):113.&lt;br /&gt;
[5]裴晓明.俄语成语翻译中的几个问题[J].科技信息,2012(30):212.&lt;br /&gt;
[6]王金凤.俄语成语的意义及其翻译[J].中国翻译,2008,29(05):72-74.&lt;br /&gt;
[7]张莹.俄语成语翻译中的文化伴随意义[J].佳木斯大学社会科学学报,2006(02):157-158.\&lt;br /&gt;
[8]鞠海娜.俄汉成语蕴含的民族文化比较研究[J].黑河学院学报,2021,12(04):174-175.&lt;br /&gt;
[9]廖七一 .当代西方翻译理论探索 [M]. 南京 :译林出版社 , 2000&lt;br /&gt;
[10]王淑杰.不同宗教信仰影响下的俄汉成语[J].科技信息,2009(07):531+553.&lt;br /&gt;
[11]张家丰.俄语成语颜色词的象征意义[J].黑河学院学报,2021,12(02):169-171.&lt;br /&gt;
[12]王青.中国文化负载词的英译研究[J].校园英语,2020(24):243-244.&lt;br /&gt;
&lt;br /&gt;
=8周小雪 The Translation of Culture Loaded Words in English and Japanese Versions of Medicine =&lt;br /&gt;
[[Cult_Load_Words_EN_8]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Language is the carrier of culture and closely related to culture. Translation of culture- loaded words has been a difficult problem for translators.The culture behind culture- loaded words made translator hard to find words that are coherent to the original text. For the same culture-loaded word, different languages have different translation methods. This paper takes the novel ''Medicine'' as an example exploring the contrast of English and Japanese translation of culture-loaded words in the same text.&lt;br /&gt;
&lt;br /&gt;
Language is an indispensable carrier of culture and closely related to culture. The translation of culture-loaded words has been one of the difficult problems for translators. Rich cultural connotations carried by culture-loaded words make it hard for the translator to find words in the target language that are equivalent to the original text in the source language. The same culture-loaded word may have different translation methods according to different target languages. This paper takes the novel ''Medicine'' as the research object, exploring the differences between English and Japanese translation text of the same culture-loaded words in it.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:11, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Culture-loaded Words; Medicine; English and Japanese Translation&lt;br /&gt;
&lt;br /&gt;
=== 题目 ===&lt;br /&gt;
《药》英日译本中文化负载词的翻译对比研究&lt;br /&gt;
&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
文化负载词的翻译一直是译者面临的一个难题。文化负载词背后的文化因素使得译者很难找到与之对应的词句。对于同一文化负载词，不同的语言有不同的翻译方法。本文以鲁迅的小说《药》为例，探讨同一文本中文化负载词的英、日翻译对比。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
文化负载词；《药》；英日翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only get faithfulness, expressiveness and elegance, but also understand the culture concepts behind each word in the original text. Culture-loaded words have always been a difficult problem in translation. Due to cultural differences, it is difficult for translators to find words that are coherent to the original text. In the process of translation, if the translation work in a comparatively mechanical manner, it is hard for us to understand the true meaning of the original text. Therefore, it is very important to do a good job in translating culture loaded words.&lt;br /&gt;
&lt;br /&gt;
Translation is not the direct conversion of two languages. In the process of translating from one language to another, we should not only follow some principles and strategies to translate in the ways of faithfulness, expressiveness and elegance, but also consider the cultural concepts behind each word in the source text. Culture-loaded words have always been a difficult problem in translation. Due to cross-cultural differences, it is difficult for the translator to find equivalent words in the target language. In the translating process, the translation work done in a comparatively mechanical manner would make it hard for us to understand the true meaning of the source text. Therefore, the translation of culture-loaded words plays a very important role in the translation work.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:13, 12 December 2021 (UTC)&lt;br /&gt;
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===1.Culture-Loaded Words===&lt;br /&gt;
&lt;br /&gt;
====1.1 Definition  of Culture Loaded Words====&lt;br /&gt;
Language is the carrier of culture and closely related to culture. With the development of cultural communication, more and more scholars begin to study the translation of culture-loaded words. Different people have different definitions of culture-loaded words. Mona Baker put forward the the concept of “culture-specific” .A word in the original language is often different in the target language, which often makes readers from the target language culture at a loss end. Sometimes culture-loaded words are abstract, involving religious beliefs or cultural customs, and sometimes they are specific.Spanish translator Javier Franco Aixela put forward the definition of &amp;quot;cultural-specific item”. It tells us that &amp;quot;There are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no coherent item in the cultural system of the target language.In China, Jin Huikang thought &amp;quot;Culture loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent. &amp;quot;(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of vocabulary vacancy,means that the cultural information carried by the source language vocabulary has no counterpart in the target language. (Bao Huinan, 2004:10) He think that&amp;quot;Every language is the product of the cultural development of a country and nation, and has its long historical background and rich cultural connotation. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, each language has its own specific vocabulary, idioms and allusions Culture loaded words reflect these concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are &amp;quot;Words, phrases and idioms that mark the unique things in a culture.These words reflect the unique activity mode gradually accumulated by a specific nation in the long historical process, which is different from other nations.&amp;quot;(Liao Qiyi 2000:230)Language reflects different living conditions and religious differences, which lead to different modes of thinking, values, aesthetic standards and moral differences. (Wang Chuanmei, 2008:5) &lt;br /&gt;
Culture-bearing words are closely related to culture and have rich cultural significance. These words are closely related to cultural, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotion and subjective judgments. so some words are endowed with special meanings, which are rooted in the culture of a country or a nation and reflects the cultural characteristics.(Wu Xiaodan:2015)&lt;br /&gt;
&lt;br /&gt;
Language is an indispensable carrier of culture and closely related to culture. With the development of cross-cultural communication, more and more scholars begin to study with the translation of culture-loaded words. Different people have different definitions about culture-loaded words. Mona Baker put forward the the concept of “culture-specific” that one word in the source language is always different in the target language, which makes readers from the target language culture confused. There are not only abstract culture-loaded words involving religious beliefs or cultural customs, but also specific ones. Spanish translator Javier Franco Aixela put forward the definition of &amp;quot;cultural-specific item”. It holds that “there are some items in the text, and the translation difficulties will occur when its function and meaning are transferred from the source language to the target language. There is no equvalent item in the cultural system of the target language.In China, Jin Huikang thought “culture-loaded words exist in every language and they reflect the unique characteristics of a certain culture. In translation, it is almost impossible to find a perfect equivalent word. &amp;quot;(Jin Huikang, 2003:78). Bao Huinan viewed culture-loaded words as a kind of lexical gaps, meaning that the cultural information carried by one word in the source language has no counterpart in the target language. (Bao Huinan, 2004:10) He thinks that “every language is the product in the cultural development of one country and nation, and has its long historical background and rich cultural connotations. Every country and nation has its unique development history, social system, ecological environment, religious belief and national customs. Therefore, different language has its own specific vocabulary, idioms and allusions and culture-loaded words reflect such concepts and things. (Bao Huinan 2001:341) Liao Qiyi, a famous translation expert in China. He thought that culture loaded words are &amp;quot;Words, phrases and idioms marking the unique things in its culture. These words reflect the unique activity mode gradually accumulated by one nation in the long historical process, which is different from other nations.&amp;quot;(Liao Qiyi 2000:230) Language reflects different living conditions and religious beliefs, which lead to different thinking modes, moral values, and aesthetic standards. (Wang Chuanmei, 2008:5) Culture-loaded words are closely related to culture and have rich cultural significance. These words are closely related to cultural both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics.(Wu Xiaodan:2015)--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:14, 12 December 2021 (UTC)&lt;br /&gt;
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====1.2 Classification of Culture-loaded Words====&lt;br /&gt;
Nida believes that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is very challenging. Nida divided culture-loaded words into the following five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.&lt;br /&gt;
&lt;br /&gt;
1.2.1.Ecological Culture-loaded Words&lt;br /&gt;
Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refer to plants, animals, monsoon, hills and other related words in a specific region.&lt;br /&gt;
&lt;br /&gt;
1.2.2.Material Culture-loaded Words&lt;br /&gt;
the main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as buildings, food, clothing and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries&lt;br /&gt;
&lt;br /&gt;
1.2.3.Social Culture-loaded Words&lt;br /&gt;
In the long history, different countries have formed their own customs, lifestyles and behavior. The words that reflect the characteristics of these fields are called social cultural loaded words.&lt;br /&gt;
This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Russian versions.&lt;br /&gt;
&lt;br /&gt;
1.2.4.Religious Culture-loaded Words&lt;br /&gt;
In the long history of development, different countries and nations have formed their own religious beliefs.Therefore, in order to better understand the culture of a nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious belief and cultural tradition of a nation or nation. The difference of religious culture between countries is a big obstacle for readers to understand the words embodied in the religious culture&lt;br /&gt;
&lt;br /&gt;
1.2.5.Linguistic Culture-loaded Words&lt;br /&gt;
The grammatical, phonetic and constitutive characteristics of culture-loaded words. Its visual effect and linguistic effect are the biggest characteristics of this kind of words.&lt;br /&gt;
&lt;br /&gt;
In the development history of a nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, including a certain cultural background and other characteristics are language culture-loaded words. There are a lot of culture-loaded words in the novel medicine.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Nida points out that cross-cultural translation is more important than linguistic translation. Therefore, the translation of culture-loaded words is a challenging question for study or discussion. Nida divided culture-loaded words intoß five categories: Ecological Culture-loaded Words;Material Culture-loaded Words;Social Culture-loaded Words;Religious Culture-loaded Words;Linguistic Culture-Words.&lt;br /&gt;
&lt;br /&gt;
1.2.1.Ecological Culture-loaded Words &lt;br /&gt;
Due to the differences of living environment, the ecological and cultural systems of different nations or countries may differ greatly, and it is often difficult to understand each other.This kind of culture-loaded words refers to plants, animals, monsoon, hills and other related words in a specific region.&lt;br /&gt;
&lt;br /&gt;
1.2.2.Material Culture-loaded Words &lt;br /&gt;
The main part of material culture, such as clothing, food, housing and transportation Material culture is reflected through a variety of material objects and products, such as costume, architecture, cuisine and various tools. In view of the different habits of life, there are great differences between nations and peoples in material things.Some things that are very common in China may not be heard of in other countries.&lt;br /&gt;
&lt;br /&gt;
1.2.3.Social Culture-loaded Words &lt;br /&gt;
In the long history, different countries have formed their own customs, lifestyles and behavior patterns. The words reflecting the characteristics of these fields are called social cultural-loaded words. This paper will also analyze from these five aspects, so as to provide a clear context for the comparison of the following English and Japanese versions.&lt;br /&gt;
&lt;br /&gt;
1.2.4.Religious Culture-loaded Words &lt;br /&gt;
In the long history of development, different countries and nations have formed their own religious beliefs. Therefore, in order to have a better understand of the culture of one nation, we must understand the religious beliefs of that nation or people. The words of religious culture reflect the religious beliefs and cultural tradition of one nation or people. The difference of religious culture between countries makes it hard for readers to understand the words embodied in the religious culture.&lt;br /&gt;
&lt;br /&gt;
1.2.5.Linguistic Culture-loaded Words &lt;br /&gt;
The grammatical, phonetic and constitutive characteristics of culture-loaded words, whose visual and linguistic effects are the biggest characteristics of this kind of words.&lt;br /&gt;
&lt;br /&gt;
In the development history of one nation, it is certain to accumulate rich language and culture. And these expressions of language characteristics, usage, and a certain cultural background or other characteristics are linguistic culture-loaded words. There are a lot of culture-loaded words in the novel ''Medicine''.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:15, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. Introduction of Medicine ===&lt;br /&gt;
Lu Xun was a great writer and thinker in modern China. His articles reflected the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels.&lt;br /&gt;
The novel Medicine is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, these cultural loaded words truly reflect the national culture of the times in the novel. At this point, the thesis chooses the masterpiece, Medicine as the typical representative of LuXun, the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel Medicine exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.&lt;br /&gt;
&lt;br /&gt;
Lu Xun was a great writer and thinker in modern China. His articles reflect the people's living conditions under the dual oppression of feudalism and imperialism. He wrote about the unfortunate people in society, trying to wake up the ignorant and numb people. He was the forerunner of China's modern ideological liberation. Lu Xun's works have always been an important treasure of Chinese modern literature and people attach great importance to them. There are many culture-loaded words in Lu Xun's novels, which bring great difficulties to the translation of his novels. The novel ''Medicine'' is a short story written by LuXun. As part of LuXun's most influential works, Medicine contains a number of culture-loaded words, truly reflecting the national culture of that time in the novel. At this point, this thesis chooses the masterpiece Medicine as the research object, witch is the typical representative of LuXun and the great standard-bearer of national culture. Through the story of the teahouse owner Hua Lao Shuan and his wife buying human blood steamed bread for their son Xiao Shuan to cure diseases, the novel ''Medicine'' exposes the numbness and ignorance caused by feudal rule, praises the brave and unconquerable spirit of the revolutionary Xia Yu, and points out the limitations of the revolution in not getting close to the masses.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:19, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===3. The Comparison of Culture-loaded words'Translation between English and Japanese of Medicine===&lt;br /&gt;
Lu Xun's novel Medicine contains a great deal of cultural load Words, and rich connotation.The research uses the English translation of Yang Hsien-yi in 1960 and the Japanese translation done by Inoue Kōbai in 1931 as the examples discussing the different translation strategies of culture-loaded words in English and Japanese version.&lt;br /&gt;
&lt;br /&gt;
3.1Ecological Culture-loaded Words&lt;br /&gt;
（1）茶馆的两间屋子里，便弥漫了青白的光 。 &lt;br /&gt;
Yang:which shed a ghostly light over the two rooms of the tea-house.&lt;br /&gt;
Inoue :青白い光は茶館の中のに満ちた。&lt;br /&gt;
“茶馆”means a place for drinking tea and is an important place in the novel. Chinese has the habit of drinking tea, so teahouse is a unique place in China, which is translated into English as tea-house, translated Japanese as “茶館”.&lt;br /&gt;
（2）西关外靠着城根的地面，本是一块官地。　&lt;br /&gt;
Yang:Originally, the land adjacent to the city wall outside the West Gate had been public land.&lt;br /&gt;
Inoue :西関外の城の根元にる地面はもとからの官有地で&lt;br /&gt;
Both Yang and Inoue used free translation to translate “官地”,which are simple and easy for readers to understand.&lt;br /&gt;
（3）老栓正在专心走路，忽然吃了一惊，远远里看见一条丁字街，明明白白横着。&lt;br /&gt;
Yang:Old Chuan was startled when he saw distinctly the cross-road ahead of him. &lt;br /&gt;
Inoue :老栓はひたすら歩みを続けているうちにたちまち物に驚かされた。そこは一条の丁字街がありありと眼前に横たわっていたのだ。&lt;br /&gt;
Yang adopted the domesticating method, translating“丁字街” as  “cross-road”,Inoue adopted the foreignizing method, translating“丁字街” as  “丁字街”. The translation of Yang  makes it easier for readers to understand what “丁字街”is,while the translation of Inoue will give readers a sense of freshnes.&lt;br /&gt;
&lt;br /&gt;
3.2Material Culture-loaded Words&lt;br /&gt;
（1）衣服前后一个大白圆圈 ， 远地里也看的清楚。走过面前的，并且看出号衣上暗红色的镶边。&lt;br /&gt;
Yang:The large white circles on their uniforms, both in front and behind, were clear even at a distance; and as they drew nearer, he saw the dark red border too. &lt;br /&gt;
Inoue :近寄って来ると、その白い円いものはの上の染め抜きで、のふちぬいの中にあることを知った。&lt;br /&gt;
The meaning of “号衣”is the marked garment worn by soldiers, officers, etc. in old times and marked with the words &amp;quot;soldier&amp;quot; or &amp;quot;brave&amp;quot;. Yang translated it as a “uniform”, while Wang translates it as “のふちぬい”.Both adopted domesticating method.&lt;br /&gt;
（2）便点上灯笼，吹媳灯盏，走向里屋去了。&lt;br /&gt;
Yang:then lighting a paper lantern and blowing out the lamp went into the inner room. &lt;br /&gt;
Inoue :そこで彼はに火を移し、燈盞を吹き消して裏部屋の方へ行った。&lt;br /&gt;
Yang translated “灯笼” as“paper lantern” , while Inoue used Chinese words directly.&lt;br /&gt;
（3）华大妈在枕头底下掏了半天，掏出一包洋钱，交给老栓。&lt;br /&gt;
Yang:After some fumbling under the pillow his wife produced a packet of silver dollars which she handed over. Old Chuan pocketed it nervously, patted his pocket twice&lt;br /&gt;
Inoue :華大媽は枕の下をさぐって一包みの銀貨を取出し、老栓に手渡す。&lt;br /&gt;
The foreign currency used in China at that time was called “洋钱”.Yang adopted the domesticating method, translating“洋钱” as  “silver dollars”.Because the meaning of “銀貨” in Japanese is similar to the meaning of “洋钱”in Chinese,so Inoue adopted  translated“洋钱” as  “銀貨”.But neither Yang nor Wang translated the meaning of foreign coins&lt;br /&gt;
（4）那人一只大手，向他摊着；一只手却撮着一个鲜红的馒头，那红的还是一点一点的往下滴。&lt;br /&gt;
Yang:This man thrust one huge extended hand towards him, while in the other he held a roll of steamed bread, from which crimson drops were dripping to the ground.&lt;br /&gt;
Inoue :その人は老栓の方に大きな手をひろげ、片ッぽの手に赤いをんでいたが、赤い汁は饅頭の上からぼたぼた落ちていた。&lt;br /&gt;
Because of bread is more common in the West, so Yang translated “馒头” into “a roll of steamed bread”. In Japan, they also have “馒头”,so Inoue translated “馒头” into “饅頭”. But it should be noted that “饅頭” are a little different from “馒头”. Both Yang and Inoue adopted foreignizing method. &lt;br /&gt;
（5）小路上又来了一个女人,也是半百头发，褴褛的衣裙；提一个破旧的朱漆圆篮，外挂一串纸锭，三步一歇的走。&lt;br /&gt;
Yang:Another woman came down the path, grey-haired and in rags. Carrying an old, round, red-lacquered basket with a string of paper money hanging from it, she walked haltingly. &lt;br /&gt;
Inoue :の上にまた一人、女が来た。これもの頭での著物の下に襤褸のをつけ、壊れかかったの丸籠を提げて、外へ銀紙のお宝を吊し、とぼとぼと力なく歩いて来た。&lt;br /&gt;
“纸锭” are made of tin foil paste silver ingot-like ghost money. Superstition holds that incineration is given to the dead so that they can be used as money. Both Yang and Inoue adopted the way of literal translation.&lt;br /&gt;
&lt;br /&gt;
3.3Social Culture Culture-loaded Words&lt;br /&gt;
（1）老栓候他平静下去，才低低的叫道，“小栓……你不要起来。……店么？你娘会安排的。&lt;br /&gt;
Yang:Old Chuan called softly: &amp;quot;Son! . . Don't you get up! . . . Your mother will see to the shop.&amp;quot;&lt;br /&gt;
Inoue :老栓はそののおさまるのを待って、静かに口をひらいた。「お前は起きないでいい。店はお母さんがいいにする」&lt;br /&gt;
Chinese people are used to calling older people “小~”younger people “小~”. Yang adopted domesticating transliteration strategy translating “老栓” as “Old Chuan”. , Inoue adopted foreignizing method using“老栓”directly.&lt;br /&gt;
（2）老栓倒觉爽快，仿佛一旦变了少年，得了神通，有给人生命的本领似的，跨步格外高远。而且路也愈走愈分明，天也愈走愈亮了。&lt;br /&gt;
Yang:It was much colder than indoors, yet Old Chuan's spirits rose, as if he had grown suddenly younger and possessed some miraculous life-giving power. He lengthened his stride. And the road became increasingly clear, the sky increasingly bright.&lt;br /&gt;
Inoue :天気は室内よりもよほど冷やかで老栓は爽快に感じた。何だか今日は子供の昔に還って、神通を得て人の命の本体を掴みにゆくような気がして、歩いているうちにも馬鹿に気高くなってしまった。行けば行くほど路がハッキリして来た。行けば行くほど空が亮るくなって来た。&lt;br /&gt;
The meaning of “神通”is getting magical powers.Yang adopted domesticating translation strategy,while Inoue adopted foreignizing method using“神通”directly.&lt;br /&gt;
（3）仿佛抱着一个十世单传的婴儿。&lt;br /&gt;
Yang:as if it were the sole heir to an ancient house.&lt;br /&gt;
Inoue :さながらの十世単伝の一人子を抱いているようなものであった。&lt;br /&gt;
The author refers to the preciousness of &amp;quot;human blood steamed bread&amp;quot; through the &amp;quot;十世单传&amp;quot;. Yang adopted free translation strategy,while Inoue adopted literal translation strategy.However, both Yang and Inoue did not attach too much importance to the status of the only child, so readers cannot perceive the author's metaphorical meaning through this source area.&lt;br /&gt;
（4）“谁的？不就是夏四奶奶的儿子么？&lt;br /&gt;
Yang:&amp;quot;Who? Son of Widow Hsia, of course! Young rascal!&lt;br /&gt;
Inoue :「誰って、きまってまさ。夏四奶奶の子さ。あの餓鬼め」&lt;br /&gt;
Neither English nor Japanese can convey the meaning of the original text well. Yang Widow translated “夏四奶奶”into “Son of Widow Hsia”by free translation. Inoue adopted transliteration using“夏四奶奶”directly that will make people misunderstanding about the original text.&lt;br /&gt;
（5）康大叔见众人都耸起耳朵听他，便格外高 兴。&lt;br /&gt;
Yang:Seeing how they all hung on his words, Mr. Kang's spirits rose even higher.&lt;br /&gt;
Inoue :康おじさんはみんながを引立てているのを見て、に得意になって瘤のがハチ切れそうな声を出した。&lt;br /&gt;
&amp;quot;叔&amp;quot; is the title of the father's younger brother. Now  &amp;quot;叔&amp;quot; also refers to an older adult man, or a man more than 20 years older than oneself. In English, &amp;quot;uncle&amp;quot; does not mean blood relationship. &amp;quot;Mr. Kang&amp;quot; does not show the relationship between people.Both Yang and Inoue used domesticating method.&lt;br /&gt;
（6）第一要算我们栓叔运气；第二是夏三爷赏了二十五两雪白的银子，独子落腰包，一文不花。&lt;br /&gt;
Yang:Our Old Chuan was luckiest, and after him Third Uncle Hsia. He pocketed the whole reward—twenty-five taels of bright silver—and didn't have to spend a cent!&amp;quot;&lt;br /&gt;
Inoue :「第一は栓じいさんの運気を取逃がさねえためだ。第二は夏三爺から出る二十五両のの銀をそっくりのの中に納めて一文もつかわねえ算段だ」&lt;br /&gt;
Yang Widow translated “夏三爷”into “Third Uncle Hsia”by free translation. Inoue adopted transliteration using“夏三爺”directly. &lt;br /&gt;
（7）夏三爷真是乖角儿，要是他不先告官，连他满门抄斩。 &lt;br /&gt;
Yang:Third Uncle Hsia is really smart. If he hadn't informed, even his family would have been executed, and their property confiscated. &lt;br /&gt;
Inoue :夏三爺はすばしッこいね。もし前に訴え出がなければ今頃はどんな風になるのだろう。一家一門は皆殺されているぜ。&lt;br /&gt;
“乖角儿” in Chinese means a clever and intelligent person. “满门抄斩” is an ancient Chinese punishment, which means to confiscate property and kill the whole family. Both Yang and Inoue used domesticating method.&lt;br /&gt;
（8）“义哥是一手好拳棒，这两下，一定够他受用了。”&lt;br /&gt;
Yang:Red-eye is a good boxer. Those slaps must have hurt!&amp;quot; &lt;br /&gt;
Inoue :義哥は棒使いの名人だ。二つも食ったら参っちまうぜ&lt;br /&gt;
It was difficult to understand the local dialect.Both Yang and Inoue used domesticating method.&lt;br /&gt;
（9）他这贱骨头打不怕，还要说可怜可怜哩。 &lt;br /&gt;
Yang:&amp;quot;The rotter was not afraid of being beaten. He even said how sorry he was.&amp;quot;&lt;br /&gt;
Inoue :「ところがあの馬の骨め、打たれても平気で、そうだ。そうだ、と抜かしやがるんだ」&lt;br /&gt;
&amp;quot;贱骨头&amp;quot; is a common saying often used by Chinese people to scold people. It was difficult for translators to translate it. So both Yang and Inoue used domesticating method and free translation.&lt;br /&gt;
（10）这一年的清明，分外寒冷。&lt;br /&gt;
Yang:The Ching Ming Festival that year was unusually cold. &lt;br /&gt;
Inoue :今年の清明節は殊の外寒く&lt;br /&gt;
“清明” is a traditional Chinese festival. It is also one of the most important sacrificial festivals. It is also the day for ancestor worship and tomb sweeping. Influenced by Chinese culture, in Japan,they also have “清明”. so it can be directly translated as Japan’s “清明節” .Because the  western countries do not have this holiday, so Yang translated it as “The Ching Ming Festival”by  foreignizing method. &lt;br /&gt;
&lt;br /&gt;
3.4Linguistic Culture-loaded Words&lt;br /&gt;
（1）只有小栓坐在里牌的桌前吃饭，大粒的汗，从额上滚下，夹袄也贴住了脊心，两块肩胛骨高高凸出印 成一个阳文的”八”字 。&lt;br /&gt;
Yang:Only his son sat eating at a table by the wall. Beads of sweat stood out on his forehead, his lined jacket clung to his spine, and his shoulder blades stuck out so sharply, an inverted V seemed stamped there. &lt;br /&gt;
Inoue :見ると額の上から大粒の汗がころげ落ち、左右の肩骨が近頃めっきり高くなって、背中にピタリとついている夾襖の上に、八字の皺が浮紋のように飛び出していた。&lt;br /&gt;
“阳文”is the pattern printed on some utensils. It describes the bony appearance of Xiao Shuan.  Lu Xun used the character &amp;quot;eight&amp;quot; to tell readers that  Xiao Shuan is thin and weak, which is very vivid and clear to us. However, it is difficult for foreign language readers to understand. The inverted English letter &amp;quot;V&amp;quot; is very similar to the Chinese letter &amp;quot;八&amp;quot;.so Yang translated it to  &amp;quot;V&amp;quot;. And since Japan also has the word &amp;quot;八&amp;quot;, so Inoue used it directly.&lt;br /&gt;
（2）还要老虎头上搔痒，便给他两个嘴巴！ &lt;br /&gt;
Yang:and then the young fool would 'scratch the tiger's head,' so he gave him a couple of slaps.&amp;quot;&lt;br /&gt;
Inoue :あいつが虎の頭を掻いたから堪らない。たちまちポカポカと二つほど頂戴したぜ&lt;br /&gt;
&amp;quot;老虎头上搔痒&amp;quot; is a allegory of boldness, recklessness and overreach. It can also be extended to mean &amp;quot;seeking death&amp;quot; or &amp;quot;not afraid of death&amp;quot;. both Yang and Inoue adopted literal translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Culture-loaded words are closely related to culture and have rich cultural meanings. These words are closely related to cultural relations, whether in concept or in connection. On the one hand, people of all nationalities live together in the world and have similar ideas about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for all kinds of thinking to achieve communication and communication. On the other hand, people living in different social contexts may have different cognitive concepts, emotional colors and subjective judgments. Because of this, some words are endowed with special meanings, which are rooted in the culture of a country or a nation. Deeply reflects the cultural characteristics.The biggest difficulty in translation is not the language itself, but the cultural implications that language carries.Medicine, as a national literary work, contains a large number of culture-loaded words. the culture-loaded words in Medicine are classified&lt;br /&gt;
On the basis of classification, we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. Due to the great differences between eastern and Western cultures, it is difficult to find a complete equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method and free translation. Since Japan and China have had a lot of communication since ancient times and were greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation and transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have similar culture and both use Chinese characters. foreignizing translation and domestication translation, literal translation, free translation, transliteration are not in isolation, Sometimes they need to be combined to play a better role in the translation of culture-loaded words. the translation of culture-loaded word involves all aspects of culture, is a complex and worthy of further discussion. Only by fully understanding the culture of the original text and accurately interpreting the author's intention, can we better convey the cultural information of culture-loaded words to readers.&lt;br /&gt;
&lt;br /&gt;
Culture-loaded words are closely related to culture and have rich cultural conceptions. These words are closely related to cultural relations, both in concept and connection. On the one hand, people from different nationalities live together in the world and have similar concepts about nature. Therefore, different cultures and languages have some common characteristics, which is also an important reason for different kinds of thinking modes to achieve communication. On the other hand, people living in different social contexts may have different concepts, emotions and subjective judgments thus some words are endowed with special meanings, which are rooted in the culture of one country or nation and reflects their cultural characteristics. The biggest difficulty in translation is not the language itself, but the cultural conceptions that language carries. ''Medicine'', as one national literary work, contains a large number of culture-loaded words. The culture-loaded words in Medicine are classified on the basis of classification, and we can learn from the comparison of English and Japanese translations that the translation strategies adopted in the translation of culture-loaded words are different due to the differences between eastern and western cultures. The great differences between eastern and Western cultures make it difficult to achieve a perfect equivalence of some culturally loaded words in the translation of Chinese traditional literary works into English. So the English version is mainly translated by domesticating method or free translation. While China and Japan have had a long communication history since ancient times and Japanese culture has been greatly influenced by Chinese culture, the Japanese translation mainly adopts foreignizing translation, literal translation or transliteration. Even if the Chinese culture-loaded words that Japanese have never seen , they can understand them and even use them directly because they have some similar culture and also use Chinese characters. In addition, foreignizing translation, domestication translation, literal translation, free translation, and transliteration are not isolated from each other, sometimes they need to be combined to play a better role in the translation of culture-loaded words. The translation of culture-loaded word involves all aspects of culture and is a complex process needing further discussion. Only by fully understanding the cultural concepts  of the source text and accurately interpreting the author's intention, can the translation better convey the cultural information of culture-loaded words to readers.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 09:39, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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[10]Bao Huinan包惠南、&amp;amp;Baoang包昂(2004),《中国文化与汉英翻译》[Chinese Culture and Chinese-English Translation]。北京：外文出版社。&lt;br /&gt;
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[11]Bao Huinan包惠南(2001),《文化语境与语言翻译》[Cultural context and language translation]。北京：中国对外翻译岀版公司&lt;br /&gt;
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[12]Jin Huikang金惠康,跨文化交际翻译[Cross-cultural communication translation]［Ｍ］.中国对外翻译出版公 司,２０３.&lt;br /&gt;
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[13]Wang Chuanmei王传梅,鲁迅小说中文化负载词的翻译[Translation of cultural-loaded words in Lu Xun's novels]［Ｄ］.中国海洋大学,２００８．&lt;br /&gt;
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[14]Liao Qiyi廖七一.当代西方翻译理论探索[Exploration of Contemporary Western Translation Theory][M].南京译林出版社，2000年 .&lt;br /&gt;
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=9 付诗雨 On Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese——A Case Study of Hunan Museum =&lt;br /&gt;
[[Cult_Load_Words_EN_9]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Museum has served as an indispensable platform for cross-cultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. The commentaries translation of cultural relics provided by museums, affecting the acceptability of the target text receiver directly, has a crucial impact on the inter-cultural understanding and communication. In the process of cultural relics commentaries translation, it is still an important academic subject needing further research that how to deal with the incompatibility of linguistic signs and cultural concepts between the source language and the target language, and how to accurately convey the characteristics, meanings and cultural implications of culturally-loaded words inside. Nevertheless, the academic studies on the translation of cultural relics commentaries in Chinese museums started relatively late, among which especially the researches focused on the Japanese version are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.Therefore, this thesis takes the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance. In this thesis, culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and then the translation skills are concluded, expecting to provide some reference for future translation of cultural relics commentaries. &lt;br /&gt;
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===Key words===&lt;br /&gt;
Cultural Relics Commentaries; Culturally-loaded Words;Translation Equivalence;Chinese-Japanese Translation Skills;&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
文物解说词中的文化负载词的日译研究——以湖南博物馆为例&lt;br /&gt;
=== 摘要 ===&lt;br /&gt;
博物馆是跨文化交际的重要窗口和平台。博物馆所藏文物解说词的翻译质量直接影响着目标受众对译文的接受度，制约着异文化间的理解和交流。文物解说词中存在着大量的的文化负载词，文化负载词是民族文化智慧的结晶，蕴含着深厚的民族文化底蕴，准确的文化负载词翻译不仅能促进跨文化交际的顺利开展，而且对于介绍民族文化，保持民族特色，促进民族间友好交往，具有重要的意义。因此在文物解说词的翻译过程中，如何对待和处理源语言和目标语言在语言符号和文化观念不对等问题，怎样才能使其中的文化负载词的特点、含义和文化意蕴得以准确的传达，是一个亟待深入研究的重要课题。然而，中国国内博物馆文物解说词的翻译研究起步较晚，特别是文物解说词文本的日译研究在数量和内容上都不够丰富，在可读性和接受性等诸多方面上还亟待加强。本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对包含着不同文化含义的词汇进行原、译文对照分析，以及提出改进建议，并且尝试归纳出博物馆文物解说词中的文化负载词的翻译技巧，以期待为今后文物解说词的日语翻译提供些许参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文物解说词;文化负载词;翻译等值论;日译技巧;&lt;br /&gt;
===Introduction===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. Nakayama and Halualani(2011:248-270) pointed out that three principles of equality should be followed in cross-cultural communication: language equality, cultural equality and information exchange equality. Translation, as a cross-cultural communication activity, should also follow the principles of intercultural communication. In addition, regarding the relationship between translation and culture, Larson (1984:431) points out that translation is the transfer of meaning between a set of specific symbols in one culture and a set of specific symbols in another culture. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
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In recent years, foreign translations of cultural relics commentaries have appeared successively in museums at different levels in China, on which more and more academic studies have been made. Whereas researches on Japanese version have a relatively later start comparing with English version, so outcomes are not abundant enough both in quantity and content, and the intelligibility and acceptability need to be strengthened.. However, Japan belongs to the cultural circle of Chinese characters as well, whose culture has been also deeply influenced by Chinese traditional culture since ancient times, so there must be its own uniqueness in the translation skills of cultural-loaded words. So as to improve the display of Chinese culture to Japanese tourists, the expression selected is supposed to be understood and accepted by them, especially the Japanese translation quality of culturally-loaded words. The translation equivalence theory represented by Eugene A. Nida holds that the seek of translation is rather than the mechanical correspondence on the text superficially, but the relationship between the target text receiver and the target text information be basically the same as that in the source text. This theory is in line with the fundamental mission of commentaries translation as external propaganda, which has a practical guiding significance for the research and practice of Japanese translation of cultural relics commentaries. Therefore, based on the similarities and differences between Chinese and Japanese languages and cultural values under the background of cross-cultural communication, this thesis discusses the Japanese translation skills of Chinese culturally-loaded words in cultural relics commentaries under the guidance of translation equivalence theory and the reference of specific translation skills.&lt;br /&gt;
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在全球化语境下，翻译不仅是语言符号的简单转换，更是文化交流和传播的重要手段。Nakayama 和 Halualani(2011:248-270) 指出在跨文化交际中应遵循三个平等原则：语言平等原则，文化平等原则和信息交流平等原则。翻译作为一项跨文化的交流活动，也应遵循跨文化交际的原则。此外，在翻译和文化的关系上，Larson(1984:431)也指出，翻译是一种文化中一套特定符号与另一种文化中一套特定符号之间的意义转移。随着中国对外开放的深入发展，博物馆逐渐成为了外国游客了解中国文化的主要平台之一，其中文物解说词的翻译便发挥着不可或缺的作用。文物解说词因自身特性，包含着众多承载了丰富历史、文化和风俗习惯等信息的词汇，即所谓的“文化负载词”(culturally- loaded words)。文化负载词的翻译质量直接影响着目标受众对中国文化的理解程度，影响着异文化间的交流。为了更好地发挥文物解说词翻译文本的作用，更好地介绍中国文化，对文物解说词、特别是其中文化负载词的译介研究则显得尤为重要。&lt;br /&gt;
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近年来，文物的外文解说词在中国各个级别的博物馆内接连出现，关于翻译文本的研究也是层出不穷。但相较于英译研究，日译研究方面起步较晚，在数量上和内容上都还不够丰富。而中日同属汉字文化圈，日本文化更是深受中国传统文化的影响，因此有关文化信息的翻译技巧必然存在着其特殊之处。为了更好向日本游客介绍中国文化，应该选取日本游客能理解和接受的语言，特别是提高其中文化负载词的日译质量。以尤金·奈达(Eugene A. Nida)为代表的翻译等值论认为翻译时不求文字表面的机械的对应，而要求译文读者与译文信息之间的关系基本上与原文接受者和原文信息之间的关系相同。该理论与解说词外宣翻译的重要使命相契合，对文物解说词的日译研究与实践具有现实的指导意义。本文以文物解说词中的文化负载词为切入点，在翻译等值论的指导下结合具体的翻译技巧，立足跨文化交际背景下中日两国在语言和文化价值观之间的异同，进而探讨中国文化的日语翻译技巧。&lt;br /&gt;
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===1. The Theory of Translation Equivalence and Specific Translation Skills===&lt;br /&gt;
Translation theories before the 20th century focused on the conversion of linguistic signs. With the increasingly frequent exchanges among different countries under the background of globalization, cultural differences have inevitably had a considerable impact on translation, leading to a cultural turn in translation theories, among which the translation equivalence theory represented by Eugene A. Nida is best-known. In 1969，the famous American translation theorist Eugene A. Nida put forward the definition of functional equivalence (dynamic equivalence) (Nida E.A.,Taber C.R. 2004:). Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory focus on reader's response, opening up a new perspective to translation studies. Unlike the traditional translation theories that mainly stress the correspondence between the source language and target language, Nida‘s functional equivalence theory reader's response. Nida points out that in order to reach the ideal translation, it is necessary to find the closet natural equivalence. Nida's functional equivalence theory open up a new perspective to translation studies.       &lt;br /&gt;
In Nida's view, translation is not only the equivalence of words' meaning, but also includes semantics, and style, the message translation of both the surface lexical information, but also deep cultural information. Nida's focus on receptor's response in his new concept of translating is actually the theory of dynamic equivalence，which is &amp;quot;directed primarily toward equivalence of response rather than equivalence of form&amp;quot;. In Nida's opinion, a dynamic equivalent translation must fit the receptor language and culture in order to make the translated message intelligible and natural to the target language receptors．&amp;quot;A translation of dynamic equivalence aims at complete naturalness of expression，and tries to relate the receptor to modes of behavior relevant within the context of his own culture；it does not insist that he understands the cultural patterns of the source language context in order to comprehend the message.&amp;quot; Nida further perfect his theory in the 1990s. In his book Language, Culture and Translating, he divided functional equivalence into different degrees of adequacy from minimal to maximal effectiveness on the basis of both cognitive and experiential factors. The Minimal definition of functional equivalence is &amp;quot;The readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it.&amp;quot; The Maximal definition of functional equivalence could be stated as &amp;quot;The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did&amp;quot;. It holds that the readers of a translated text should be able to comprehend it to the point that they call conceive of how the original readers of the text must have understood and appreciated it, and the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did (Nida E.A. 2001:87). Therefore, in the process of translation, it is necessary to screen and process the cultural information in the source text, especially the translation of culturally-loaded words, taking into account the similarities and differences in the historical and cultural factors, and the values between the source language and the target language, so as to make the translation more in line with the linguistic norms and habits of the target text receiver.&lt;br /&gt;
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Equivalence translation theory has exerted significant influence on Chinese translation studies since it was introduced into China. Chinese translation researchers have discussed not only the relationship between culture and translation from a macroscopic point of view, but also the translation skills of culturally-loaded words in detail, which provides important guidance for practical translation activities. In terms of specific translation skills, there are various opinions in academic circles, which can be roughly summarized as the following four types, namely literal translation, amplification, substitution and free translation, or the two kinds succinctly, namely domesticating translation and foreignization translation (Wang Enke 2002:83). In addition, seme analysis in translation, refers to subdividing the meanings of one word to find the most appropriate meaning by connecting the context . The correct meaning of a word is the one that best fits the particular context (Newmark 2001:28). The seme analysis translation of culture-loaded words should also include the analysis of non-conceptual seme such as its cultural connotation. Accordingly, corresponding translation skills are supposed to be applied based on different kinds of textual content and structure, distinct culturally-loaded words, to make a better achievement of translation equivalence.&lt;br /&gt;
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1、 翻译等值论及具体的翻译技巧&lt;br /&gt;
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二十世纪以前的翻译理论看重语言符号的转换。随着全球化背景下各民族交往的日益频繁，文化差异对翻译的影响愈发明显，出现了翻译理论的文化转向，其中以尤金·奈达为代表的“翻译等值论” 尤为著名。奈达在1969年明确提出了功能对等（动态对等）的概念(尤金·奈达,查尔斯·泰伯 2004:)。比起更注重语言形式一致性的传统翻译理论，功能对等理论更强调读者的反应，为翻译研究提供了一个全新的视角。奈达在90年代进一步完善了其理论，基于认知和经验因素，他认为功能对等具有不同的适合程度，提出了功能对等的两个层次：最低层次的对等和最高层次的对等。主张“译文读者对译文的理解应当达到能够想象出原文作者是怎样理解和领会原文的程度，并基本上能按照原文读者理解和领会原文的方式来理解译文”(尤金·奈达 2001:87)。因此，在翻译过程中，特别是有关文化负载词的翻译，必须对原文中的文化信息进行筛选和加工，兼顾源语言和目标语言的历史文化和价值观念的异同点，使译文更加符合目标受众的语言表达的规范和习惯。&lt;br /&gt;
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翻译等值论在传入中国后，给中国的翻译研究也带来了很大的影响。中国翻译研究者们，不仅从宏观上论述了文化与翻译的关系，还具体地探讨了文化负载词的翻译技巧，对实际的翻译实践活动提供了重要的指导。其中有关具体的翻译技巧方面，学界意见各有千秋，大致可以归纳为如下四类：直译法、增词法、代换法、意译法，或概括成归化法和异化法(王恩科 2002:83)。此外，还有义素分析法，是指细分一个词的内涵的多种词义联系上下文找出最恰当的词义。一个词的正确意义就是最符合特定上下文的意思 (Newmark 2001:28)。对于文化负载词汇的翻译义素分析还应包括对其文化内涵意义等非概念性义素的分析。要根据不同的文本内容和结构、不同的文化负载词，选取相应的翻译技巧，以更好地实现翻译的“等值”。&lt;br /&gt;
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===2. The Definition and Classification of Culture-loaded Words===&lt;br /&gt;
Culturally-loaded words are the vocabulary in the language system, which can best embody the cultural knowledge that a language carries and reflect the social information of human life. Culturally-loaded words refer to those words or phrases which convey a certain kind of cultural connotations rooted in their own society, which may not be found in other languages. In other words, it is difficult to find ready-made equivalent words in the target language, leading to the phenomenon of lexical gaps (Hu Jie 2018:235). Accordingly, culturally-loaded words in cultural relics commentaries can be defined as words or phrases embodying unique cultural information rooted in Chinese society.&lt;br /&gt;
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The formation of culture-loaded words is influenced by many factors: under various geographical, historical and social environments, different nations have formed their own lifestyles, ideologies, religious beliefs, customs and habits, literature and art, etc., resulting in numerous cultural differences. The essential differences between eastern and western cultures make the processing of cultural information a key problem in translation activities. English and Chinese belong to the Indo-European family and the Chinese and Tibetan languages. Chinese grammar is flexible and hidden while English grammar is rigid and open. Chinese often uses Parataxis and mandarin while English focuses on the Hypostasis. Chinese stresses savvy, heavy themes and the overall thinking. Conversely, English stresses the rational, heavy object awareness and personality thinking. Such enormous differences between English and Chinese, especially the differences in history, social customs, ideas and nationality, pose many difficulties to Chinese-English translation (LR Huo 2011:206). Whereas Japan, as a close neighbor of China belonging to the same Chinese character circle, has had continual exchanges with China since ancient times, whose culture is profoundly influenced by traditional Chinese culture. Therefore, the research on the Japanese translation of culturally-loaded words would be inevitably different from that of other languages (Zhang Li,Wu Linan 2021:43). It should not be generalized, or limited to the single direction of Chinese culturally-loaded words, but based on the similarities and differences between Chinese and Japanese language and cultural values under the trends of cross-cultural communication.&lt;br /&gt;
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On the classification of culturally-loaded words, opinions varies in the academic circles. In this thesis, taking the classification of Zhang (2002:60) as reference, culturally-loaded words in cultural relics commentaries are divided into four categories according to their contributing factors: culture-loaded Words related to material culture, social culture,  religious  culture, and linguistic culture, on which the translation skills are analyzed and summarized by comparing the source text and the translated version detail by detail. &lt;br /&gt;
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2、 文化负载词的定义和分类&lt;br /&gt;
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文化负载词是指在语言系统中，最能体现语言承载的文化信息、反映人类的社会生活的词汇。因为文化负载词反映的是本民族文化中特有的概念，所以往往在另一种语言中无法找到对译的词语，或者说是在译语中很难找到现成的完全对应的“等值词语”，也就形成了词汇空缺(胡洁 2018:235)。因此，文物解说词中的文化负载词可以定义为包含中国独特文化信息的词语。&lt;br /&gt;
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文化负载词的形成受到诸多因素的影响‚各民族在不同的地理、历史、社会环境下，形成了各自不同的生活方式、意识形态、宗教信仰、风俗习惯和文学艺术等，从而造成了各种文化差异。特别是东西方文化之间有着本质的不同，使文化信息的处理成为翻译活动中的重点难题。英汉两种语言分别属于印欧语系和汉藏语系。汉语语法灵活隐蔽，而英语语法僵化开放。汉语多用意合和汉语，而英语多用本体字。中文强调悟性、沉重的主题和整体的思考。相反，英语强调理性、重对象意识和个性思维。英汉两种语言的巨大差异，尤其是历史、社会习俗、思想观念、民族等方面的差异，给汉英翻译带来诸多困难(LR Huo 2011:206)。而中日两国一衣带水，自古以来交流密切，日本不仅同属于汉字圈，日本文化更是深受中国传统文化的影响(张丽,吴丽楠 2021:43)。因此，关于文化负载词的日译研究必然有着不同于其他语言的特别之处，不能一概而论，更不能仅局限于汉语文化负载词的单方向，应立足于跨文化交际背景下中日两国在语言和文化价值观之间的异同。&lt;br /&gt;
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关于文化负载词的分类，学术界各抒己见。本文在参考张（2002:60）分类标准的基础上，把文物解说词中的文化负载词根据其成因，大致分为物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四大类，逐一对照源文和译本，进行翻译技巧的分析和归纳。&lt;br /&gt;
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===3. Approaches Applied in Translating Chinese Culture-loaded Words in Cultural Relics Commentaries into Japanese===&lt;br /&gt;
The research data in this thesis are the Chinese-Japanese translated texts that come from the cultural relics commentaries of Basic Display in Hunan Museum’s exhibition hall, totally 10145 characters. On the whole, the Chinese commentary texts do not translated to Japanese one-to-one correspondence. Among them, some introductions in Chinese do not appear in the Japanese version,  meanwhile, there are also some parts in the Japanese version that are not in the Chinese text. This reflects the distinguishing feature of the commentaries translation for foreign tourists in museums as external propaganda, that it is necessary to make a choice on the content to translate according to the target text receiver, rather than the simple text translation. In view of this, a small number of Chinese culture-loaded words untranslated do not be took into account in the thesis, and according to the four categories of culturally-loaded words that related to material culture, social culture,  religious  culture, and linguistic culture, the representative ones are selected to be analyzed in their translation skills.&lt;br /&gt;
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3.本文数据来源于湖南博物馆展厅中“基本陈列”中的文物解说词，中日对译文本共计10145字。从整体上来说，解说词的日语译本并非与中文原文一一对应。其中，中文解说中的一些介绍在日语译本中并未出现，相反日语译本里也存在着一些中文解说中没有的部分。这体现了博物馆针对国外游客的解说词译本作为外宣翻译的独特之处，即不仅是简单的文本翻译，更要根据目标对象进行译本内容的取舍。鉴于此，本文将不考虑小部分未译的汉语文化负载词，基于物质文化类、制度习俗文化类、宗教道德文化类以及文学艺术文化类的四种类别，选取其中具有代表性的文化负载词进行翻译技巧方面的分析。&lt;br /&gt;
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====3.1 Culture-loaded Words Related to Material Culture====&lt;br /&gt;
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There are differences in the material entities produced and used by different nations. For example, national costume, architecture, cuisine, etc. the highly traditional culture the social life closely linked, the names of which would indispensably become lexical gaps in other languages. Even the same name often carries different concepts among different nations. The names of the cultural relics, as the most representative example, can convey the information of the object intuitively.&lt;br /&gt;
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For example, the name of “彩绘双层九子漆奁” (Two-tiered Cosmetic Box Containing Nine Small Boxes )excavated from the Han Tomb 1 at Mawangdui, in which “彩绘”and “漆”(coloured drawing or pattern and lacquer) mean its outer surface feature, “双层”and “九子”(two tires and nine small boxes) mean its internal structure, and the central part “奁”(cosmetic box) means its main application, that containing the dressing articles and other personal articles. It was translated into “彩絵二重九子漆製化粧箱” in Japanese, of which the characteristics and uses could be understood intuitively by the target readers, so that the information received by the target readers and the original readers could be  equivalent, in line with the principle of &amp;quot;formal equivalence&amp;quot; in translation equivalence theory. However, it is worth noting that the concept of &amp;quot;奁&amp;quot; was translated into &amp;quot;化粧箱&amp;quot; in Japanese, which generally refers to the storage box for cosmetics (Kojien6 2008), whereas in Chinese, besides cosmetics, some daily articles are also placed. Consequently, there is an additional explanation in the Japanese version of the detail commentary, that “化粧用具と日用品の物入れである”(the box to contain cosmetics and daily articles), and an introduction of the social custom at that time as well, that “中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”(Both men and women in ancient China wore their hair long and possessed dressing articles). It is so complete that the target readers could know about the cultural relic fully. &lt;br /&gt;
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In addition, in the commentary of “素纱单衣”(Plain Gauze Gown), the concept of &amp;quot;右衽&amp;quot; (a jacket) of Hanfu, meaning the front part covering to the right, which has been the very characteristic of Hanfu and also considered as one of the symbols of the Han nationality (Zuo Na 2011:30). However, it was translated into “右衽” in Japanese directly. Although Japan's national costume Kimono also has the reference concept of &amp;quot;衽&amp;quot;, for the  historical connection that Japanese Kimono originated from Chinese Hanfu, the concrete part referred by “衽” is different, and &amp;quot;右&amp;quot; refers to the directionality of &amp;quot;covering to the right&amp;quot; in Chinese, while &amp;quot;右&amp;quot; may be mistaken for the orientation of &amp;quot;right&amp;quot; in Japanese. Consequently, it is obvious that literal translation is untenable,  thus &amp;quot;前おくみ&amp;quot; is added to the translation to help the target readers understand it. Besides, the cultural connotations contained in &amp;quot;右衽&amp;quot;, such as the philosophical view of &amp;quot;harmony between nature and man&amp;quot;, and the etiquette thought of &amp;quot;good things is on the left&amp;quot; (Sun Lingling 2018:81), are also hard for the target readers to understand. The characteristics of culturally-loaded words are also convincingly demonstrated by this.&lt;br /&gt;
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3.1物质文化类&lt;br /&gt;
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不同民族生产和使用的物质实体存在着差异，例如一些民族特有的服饰、建筑、食物等，这些名称到了其他民族的语言中就会成为“缺项”。 即使是同一名称，在不同民族中所包含的概念也往往不同。而文物的名称就是其中最具代表性的例子，这些名称通常能直观地传达物体的信息。&lt;br /&gt;
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例如辛追墓出土的文物“彩绘双层九子漆奁”，“彩绘”“漆”说明了其外表特征，“双层”“九子”说明了其内部结构，最重要的主体“奁”说明了其用途，即“古代女子梳妆用的镜匣”。日语译成了“彩絵二重九子漆製化粧箱”，便于译文读者直观地了解该文物的特征和用途，使译文读者和原文读者接收到的信息对等，符合翻译等值论中的“形式对等”原则。但是值得注意的是“奁”这个概念，日语中译成了“化粧箱”，指化妆用品的收纳箱(広辞苑第6版 2008)，而汉语中除化妆用品外，还放置一些日常用品。因此，在详细的文物介绍中，日语译文中另外增加了“化粧用具と日用品の物入れである”的解释，还配有“中国の古代には男女問わず、みんな髪を伸ばすので、化粧具も用意する必要がある”的社会习俗说明。可谓之十分完备，便于译文读者充分了解该文物。&lt;br /&gt;
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此外，还有关于著名的“素纱单衣”的解说中，涉及到了关于汉服的“右衽”的概念，指前襟向右掩，是汉服始终保留的特点，被认为是汉族的象征符号之一(左娜 2011:30)。而日语译文中直译成了“右衽”，虽然日本的民族服装和服中也有“衽”的参照概念，源于日本和服起源于中国汉服的历史联系。但“衽”在汉服和和服中所指的具体部位是不同的，且“右”在汉语里指“向右掩”的方向性，日语中容易理解为单纯的“右边的”的方位性，因此显然直译是难以成立的。所以译文添加了“前おくみ”的解释，能够助于读者理解。此外，“右衽”所蕴藏的文化内涵，如“天人合一”的哲学观，“吉事尚左”的礼法思想，传统医学的“阴阳观”等(孙玲玲 2018:81)，也是目标读者很难领会到的。这也正充分体现了文化负载词的特性。&lt;br /&gt;
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====3.2 Culture-loaded Words Related to Social Culture====&lt;br /&gt;
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Different nations have different historical development and political evolution, and also have experienced corresponding social system and traditional customs in different periods, thus producing a large quantity of words with era characteristics. Commentary concerned with the time or historical background of cultural relics often involve such words. &lt;br /&gt;
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For example, “辛追墓非衣帛画”(T-Shaped Painting On Silk), unearthed from Mawangdui Han Tomb No.1, “非衣”(flying garment), namely “魂幡”，was the banner carried in the funeral procession and then buried in the tomb for the purpose of calling back the spirit of the deceased, which is one of the funeral customs etiquette in ancient China. Banded on the shape of the painting, it was translated into “T形帛画”, obviously neglecting the the concept of “魂幡”, which is not mentioned in the detail commentary as well. However, in the commentary of “人物龙凤帛画”(Silk Painting with Female Figure, Dragon and Phoenix Patterns”, “魂幡” was translated into “霊幡”, with an explanation additionally that “魂を引いて昇天する「霊幡」”(the banner calling back the spirit of the deceased), which could prevent the target readers from misinterpreting it literally as “the flag calling for gods&amp;quot; for there is no such funeral custom etiquette in Japan. &lt;br /&gt;
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Also, in the commentary of “凤鸟纹’戈’提梁铜卣”(Bronze You with Swinging Handle and Phoenix Design and Inscription “Ge”), the inscription “Ge” on the cover and inner, is “族徽“(the emblem of “Ge” clan), which was translated into “家徽”. Nevertheless, there was a similar concept “家紋” in ancient Japan, referring to the symbol of one clan (Kojien6 2008), thus this paper holds that the latter translation is more appropriate in Japanese. However, in the detail introduction, a historical explanation about the &amp;quot;Ge&amp;quot; clan was added to the Japanese translation text, which could help the target readers understand the social background at that time.&lt;br /&gt;
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3.2制度习俗文化类&lt;br /&gt;
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不同民族的历史发展和政治演变各有不同，在不同时期也有与之相应的社会制度和生活习俗，由此产生了许多具有时代特色的词汇。而关于文物的时代和历史背景的介绍往往会涉及到这类词汇。&lt;br /&gt;
例如辛追墓出土的“非衣”帛画，“非衣”即“魂幡”，指古代招引亡魂的旗子，出殡前引作前导，入葬时放置在内棺盖上，属于中国古代的丧葬习俗。日语中基于其形状，译成了“T形帛画”，显然直接舍弃“魂幡”这一概念，且在具体的介绍中也并未提及。而在“人物龙凤帛画”的解说词中，也涉及到了“魂幡”的概念，日语译成了“霊幡”，并稍作了“魂を引いて昇天する「霊幡」”的加释，因为日本没有这一丧葬习俗，防止读者从字面误解为“召唤神灵的旗子”等。&lt;br /&gt;
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又如风鸟纹“戈”提梁铜卣的介绍中，其上铸有“戈”字的族徽。日语译为了“家徽”，但日本古代有“家紋”这一概念，指就是“一个家族的标志”(広辞苑第6版 2008)，所以笔者认为译为“家紋”更符合日语表达习惯。但详细的介绍中，日语译文中另添加了关于“戈族”的历史说明，这可以帮助读者理解当时的社会背景。&lt;br /&gt;
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====3.3 Culture-loaded Words Related to Religious Culture====&lt;br /&gt;
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Religious beliefs and traditional virtues have a profound impact on people's daily production mode and life style, among which some particular concepts created which play an important part of national culture. Such words will inevitably appear in the commentary of cultural relics related to religious and sacrificial activities. &lt;br /&gt;
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For instance, the outside painting of “黑地彩绘漆棺”(Coffin with Painted Designs an Black Lacquer Coating, unearthed from XinZhui’s Tomb), indicates that “死者灵魂进入受神灵保护的地府”(the deceased is entering a realm that is under the earth), was translated into “死者の魂は神様の保護で暗い地獄に入ること”, referring to “the deceased is entering the dark hell under the protection of the gods”, which obviously made a different  comprehending to the meaning. Besides, the concept of &amp;quot;地府&amp;quot; originated from the Yin and Yang theory in ancient China, and only after the introduction of Buddhism in Han Dynasty did the system of &amp;quot;地狱&amp;quot;(hell) come into being (Pu Wenqi 2021:12). The concept of &amp;quot;地府&amp;quot; is greater than that of &amp;quot;地狱&amp;quot;, which refers to the place where the spirits of the deceased who have sinned deeply during their lifetime are imprisoned and punished. The translation &amp;quot;暗い地獄&amp;quot; is easy to cause the target readers to misunderstand the deviation, thus, “黄泉”“冥土”“あの世”etc.are suggested. &lt;br /&gt;
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3.3宗教道德文化类&lt;br /&gt;
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宗教信仰和传统道德深刻影响着人们日常的生产和生活方式，其中出现的一些专用的概念，是民族文化的重要组成部分。而与宗教、祭祀等活动相关的文物介绍中不可避免地会出现该类词汇。&lt;br /&gt;
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例如辛追墓出土的“黑地彩绘漆棺”其上绘制的“死者灵魂进入受神灵保护的地府”的形象，日语中译成了“死者の魂は神様の保護で暗い地獄に入ること”。首先，日语译文所表达的意思是“死者灵魂在神灵的保护下进入了黑暗的地狱”，显然在理解上有一定的偏差。其次“地府”这一概念，源于中国古代的阴阳学说，汉代佛教传入后才有了系统的“地狱”体系(濮文起 2021:12)，“地府”的概念大于“地狱”，后者特指囚禁和惩罚生前罪孽深重的亡灵之地。因此，译文“暗い地獄”易造成读者理解偏差，笔者建议译为例如“黄泉”“冥土”“あの世”等会更贴切。&lt;br /&gt;
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====3.4 Culture-loaded Words Related to Linguistic Culture====&lt;br /&gt;
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Speech activities are the products of human spiritual activities, which produce some words concerned with historical allusions or legends. Some words have been gradually given new meanings due to folklore and usually appear in literary works. Such words are likely to be used in the commentary of cultural relics containing with idioms or proverbs. &lt;br /&gt;
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For example, in the commentary of the ancient instrument “竽”(Reed Mouth Organ Yu), the idiom “滥竽充数”(pretend to play the Yu to make up the number for an orchestra, or in other words, to fill a post without real qualifications) indicates the popularity of the Yu at that time. Although the Japanese translation “員に備わるのみ”(to fill a post without real qualifications), a Japanese idiom with the same meaning, is in line with the principle of equivalence, the meaning of the idiom “滥竽充数” in this very context has been mainly functioned by its original fable, which is supposed to be explained additionally. Such as “『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から”. &lt;br /&gt;
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In addition, the word “凤鸟乘云”(phoenixes riding on clouds), was translated into “雲に乗る鳳鳥”in Japanese literally. The concept of &amp;quot;凤鸟&amp;quot;(phoenix) originated from the ancient Chinese legend, which is a kind of auspicious animal, and &amp;quot;phoenixes riding on the clouds&amp;quot; means good luck. Although Japan has been influenced by Sinology since ancient times and the four Rui animals that &amp;quot;Dragon, Phoenix, Kylin and Turtle&amp;quot; has had some effects on Japanese literature and culture,  an additional explanation &amp;quot;祥瑞を寓意する&amp;quot; could be more easily understood by the target readers.&lt;br /&gt;
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3.4语言文化类&lt;br /&gt;
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语言活动是人类精神活动的产物，其中产生了一些隐含着历史典故或人物传说的词汇。一些词语因为民间传说而逐渐被赋予了新的指代含义，多出现在文学作品中。而与文物涉及到相关的成语和谚语等的介绍中，很有可能会使用到此种词汇。&lt;br /&gt;
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例如，关于古代乐器“竽”的解说中，提到了“滥竽充数”这一成语的出现来说明当时竽的流行程度。日语译成了相同意思的谚语“員に備わるのみ”，虽然在含义上做到了“功能对等”，且符合目标语习惯，但“滥竽充数”在这个特定的语境中，主要以其出典的寓言故事发挥意义功能的，所以笔者认为注解其成语故事更为妥当，例如“『語源』斉の宣王は竽の音を聞くのが好きで、竽のできる人を300人雇ったところ、竽の吹けない南郭先生が混じって俸給をもらっていたという故事から。”&lt;br /&gt;
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另外，如“凤鸟乘云”这一词语，日语译为“雲に乗る鳳鳥”，在形式上实现了对等。“凤鸟”这一概念起源于中国古代传说，是一种吉祥的动物，“凤鸟乘云”寓意着吉祥。虽然日本自古以来受到汉学的影响，“龙凤麟龟”的四瑞概念也在日本文学文化中有一定的影响，但是笔者认为加注“祥瑞を寓意する”等会更易于译文读者理解其中的文化概念。&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Under the background of globalization, translation has become an important bridge of cross-cultural communication and transmission, rather than merely a simple conversion of language signs. With the further development of China's opening up, Chinese museums have gradually become one of the main channels for foreign tourists to know about Chinese culture, among which the translation of cultural relics commentaries play an indispensable role. Owing to their own characteristics, the cultural relics commentaries often contains numerous vocabularies carrying abundant information of history, culture, customs, habits and so on, what is called culturally-loaded words. The translation quality of culturally-loaded words directly affects the target text receiver’s acceptability of Chinese culture, influencing the intercultural communication. Accurate translation of culture-loaded words is not only able to promote cross-cultural communicationbut also to spread national culturereserve national characteristics and encourage friendly international exchange. In order to make a better use of translation versions of cultural relics commentaries and better display Chinese culture, it is crucial to take further studies on the translation and introduction of culturally relics commentaries, especially culturally-loaded words inside. &lt;br /&gt;
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In this thesis, taking the Japanese version of the cultural relics commentaries from Hunan museum’s basic display as the research objects, adopting Eugene Nina’s translation equivalence theory as the theoretical guidance, the translation skills of culturally-loaded words with different cultural meanings are analyzed through comparing with the source text, and some suggestions for perfection are provided. In the translation of commentary on cultural relics, more emphasis is placed on the reading needs of target readers and the purpose of displaying national culture than on literal translation, and there is no strict requirement for one-to-one correspondence in translation form, with great flexibility and freedom. Especially, the translation of culturally-loaded words in the cultural relics commentaries, is supposed to take both the external literal information and the internal cultural information into consideration. Take the translation equivalence equivalence theory as the theoretical guidance, adopt literal translation and free translation as the specific translation techniques, add explanation and interpretation when necessary, and tag the difficult Chinese words with Japanese Hiragana, so that the target readers' could understand the texts easily, improving the intelligibility and acceptability of the translation. In addition, the translation of culturally-loaded words should also consider the certain text and the concrete context, according to the pragmatic principles. The most appropriate meaning of the text should be selected from the numerous cultural information contained therein to translate, along with additional annotation or explanation necessarily. Language and culture’s association are so closed that the translation of the cultural relics commentaries has to focus attention on the culturally-loaded words embodying numerous cultural information. It is suggested that commentary translation skills should be studied from multiple perspectives, and the Japanese tourists’ acceptability of the translated commentaries should be researched through the actual surveys, so as to improve the quality of commentary translation, and provide some experience for other external propaganda translation, realizing a better display of the splendid and time-honored Chinese culture.&lt;br /&gt;
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本文选取湖南省博物馆基本陈列的文物解说词作为考察对象，以尤金·奈达的翻译等值论为理论指导，逐一对具有不同文化含义的词汇进行原、译文对照分析，并提出了部分改进建议。在文物解说词的翻译中，比起单纯的字面对译，更强调目标读者的阅读需求和展示民族文化的目的，因此在翻译形式上不严格要求一一对应，具有很大的灵活性和自由度。特别是关于介在其中的文化负载词的翻译，应兼顾表面上的文字信息和隐藏在内部的文化信息两个层面，以翻译等值论为指导，具体翻译技巧上以直译和意译为主，必要时添加注释和解释，还可以给难读的汉字标注假名，以便于目标读者的理解，提高译文的接受度和可读性。此外，文化负载词的翻译还要考虑使用的实际文本和特定语境，即考虑语用原则，从其所蕴含的丰富的文化信息中，选取最贴合文本的含义，进行注解或者加释。语言与文化密切关联，文物解说词的翻译要考虑到这些包含大量的文化负载词的文化信息的翻译，今后可以从多个角度分析日译解说词的翻译技巧，并对日本游客对译本的理解度进行实际的调查，从而提高解说词翻译的质量，为其他外宣翻译提供一定的经验，更好地传播灿烂悠久的中国文化。&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Nida E.A. 尤金·奈达, Taber C.R. 查尔斯·泰伯. (2004)翻译理论与实践[The Theory and Practice of Translation]. Shanghai: Shanghai Foreign Language Education Press. 上海外语教育出版社.&lt;br /&gt;
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[2] Nida E.A. 尤金·奈达. (2001) 语言与文化：翻译中的语境[Language and Culture: Contexts in Translating]. Shanghai: Shanghai Foreign Language Education Press. 上海外语教育出版社:87.&lt;br /&gt;
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[3] Wang Enke 王恩科. (2002) 文化负载词翻译技巧选择探讨[On the Principle of the Choice Techniques Concerning the Translation of Culture-Loaded Words]. Journal of Chongqing Institute of Commerce 重庆商学院学报(04):83-85.&lt;br /&gt;
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[4] Hu Jie 胡洁. (2018) 从功能翻译理论看网络新闻中文化负载词的日译[Japanese Translation of culture-loaded words in Network News from the Perspective of Functional Translation Theory]. Research on Transmission Competence 传播力研究(2):235.&lt;br /&gt;
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[6] Zhang Hongyan 张红艳. (2000) 试评《红楼梦》中文化负载词的翻译[On the translation of culture-loaded words in A Dream of Red Mansions]. Journal of Anhui University (Philosophy and Sciences) 安徽大学学报(哲学社会科学版)(04):60-63.&lt;br /&gt;
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[8] Zuo Na 左娜. (2011) “汉服”的形制特征与审美意蕴研究[The Feature and Aesthetic Meaning of Chinese Hancosfame]. Shandong: Shandong University 山东大学.&lt;br /&gt;
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[9] Sun Lingling 孙玲玲. (2018) 汉民族传统服装之“右衽”[J].学苑教育(8):81.&lt;br /&gt;
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[10]Pu Wenqi 濮文起. (2021) 中国人地狱观的演变进路[J].世界宗教文化(2):12.&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;--~~~~Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&lt;br /&gt;
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=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 =&lt;br /&gt;
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[[Cult_Load_Words_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
The theme of this paper is to analyze culture-loaded words in ''The Concubine Market of Yangchow'' based on Newmark’s translation theory. Surrounding this theme, much background information was discussed, such as the introduction of Zhang Dai and ''The Concubine Market of Yangchow'', the definition and categories of culture-loaded words according to Nida and Newmark’s translation theories and so on. Lin Yutang’s English version to ''The Concubine Market of Yangchow''-- an essay written in Ming dynasty, contributes a lot to disseminating Chinese traditional culture all over the world. The question--how to translate culture-loaded words for better transmission of Chinese culture has been probed in this paper.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Newmark’s Translation Theory; Culture-Loaded Words; ''The Concubine Market of Yangchow''; Lin Yutang&lt;br /&gt;
===Introduction===&lt;br /&gt;
''The Concubine Market of Yangchow'', a masterpiece of Zhang Dai, vividly describes the industry of bringing up and selling girls in Yangchow of Ming dynasty. This phenomenon was rare and immoral in Chinese history, which is worthwhile to be probed and discussed. This essay is written in Ming dynasty and we all know that Chinese culture is broad and profound especially in ancient Chinese culture. Therefore, there must be some culture-loaded words in it. When Lin Yutang translated it into English version, how could him deal with these culture-loaded words? We may want to know that what translation theories and methods he used for translating culture-loaded words. This paper combined Lin Yutang’s translation with Newmark’s theory and used Newmark’s theory to deconstruct the methods used by Lin Yutang to translate culture-loaded words. This paper is divided into four chapters which are logically connected and clearly displayed, which helps all readers of ''The Concubine Market of Yangchow'' to better understand this work.&lt;br /&gt;
===1. Introduction of Zhang Dai and ''The Concubine Market of Yangchow''===&lt;br /&gt;
====1.1 Introducation of Zhang Dai ====&lt;br /&gt;
Zhang Dai (1597-1684), ci poet and historian of the late Ming dynasty and early Qing dynasty, born in Shaoxing city, Zhejiang province. He came from a scholarly family for three generations of successful candidates in the highest imperial examinations in his family. In the first half of his life, he indulged in entertainments, living in an extravagant life and doing himself proud for his well-to-do family. He described himself as “I was a dude in early times and I liked prosperity, delicate houses, beautiful maids, clever children, new clothes and delicious food, fine horses, colorful lanterns, fireworks...... (Brook 2005:43)”. When Zhang Dai was 48 years old, Ming dynasty fell and his hometown destructed. He lost everything, went to a mountain temple and lived in a poor life. Because of this huge contrast, he wrote a lot of classical works such as Pottery Recall by Buddhist Nunnery Dreams and Seeking Dreams in West Lake. Besides, he also went to a lot of brothels and Chinese theatrical places in Jiangnan region. However, he acted as a spectator in these places, observing the scene and situation carefully. Especially T''he Concubine Market of Yangchow'' discussed here, he accompanied his friends to select and buy “lean horse” many times so that he could write a passage about it, which won universal praise (Zhang 2021:19).&lt;br /&gt;
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====1.2 Introduction of ''The Concubine Market of Yangchow''====&lt;br /&gt;
“Concubine market” refers to some people bought beautiful girls from poor family, taught them skills of women and courtesy, cultivated them how to be good wives and sold them to the rich as concubine. “Lean horse” refers to these girls. In the dialect of Yangzhou, “marry a horse” means “marry a wife”, which is the origin of the call of “breed lean horse” (Wang 1994:80). “Horse” is a humiliating word to women and “lean” manifests the low status of women in ancient time. &lt;br /&gt;
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Ancient Yangchow, a crucial harbor for canal transportation of salt, is a prosperous city which attracts a large number of scholars and businessmen to come. As a city of Jiangnan region, the weather here is suitable and scenery is beautiful. The green willows, warm breeze, bright moon, delicate buildings and colorful lighting were very attractive with songs and music throughout the night. The laughter and sound of wine glasses spread over the city and lasted all night. The wandering scholars often indulged in this prosperity and went to the entertaining places such as brothels, however, the rich businessmen despised these places. But they also had the requirement of beauties so that the “lean horse” industry began to operate to satisfy this need. This is the origin and history of “concubine market”.&lt;br /&gt;
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''The Concubine Market of Yangchow'' is written by Zhang Dai after observing the transaction of “lean horse” many times. So he wrote this transaction in detail which is regarded as a classical work in later time.&lt;br /&gt;
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===2. Introduction of Culture-Loaded Words ===&lt;br /&gt;
====2.1 Definition of Culture-Loaded Words====&lt;br /&gt;
In Linguistics, Spair-Whorf Hypothesis puts forward that the relationship between language and culture. Language molds our thinking patterns and expresses the unique ways of understanding the world. It is divided into two versions: strong version and weak version. Strong version refers to that language determines our thinking patterns but weak version thinks that the similarities of language are relative. The greater the structural differentiation is, the more divers the conceptualization of the world will be. Therefore, culture is encoded and transmitted by the language which influences the way of thinking and viewing of the world and embodies cultural realities. On the contrary, language is the product of culture which influences language and makes language change to fit the development of culture. Language loads a large amount of culture such as political system, living condition, religion belief and social custom and so on. Culture-loaded words are some terms, idioms and collocations full of national culture. Many masters put forward the definition of culture-loaded words. It was initially put forward in ''Culturally Loaded Words and English Language Teaching'' by Xu Guozhang in 1980. There are some other statements: “Culture-loaded words are words within a specific cultural range, and are a direct and indirect reflection of national culture in language vocabulary (Hu 1999:64)”; “Culture-loaded words refer to words, phrases, and idioms that mark a particular cultural thing. These words reflect the unique activities of a particular nation that are gradually accumulated in the long historical process and are different from other nations (Liao 2000:232)”. We can see that culture-loaded words as a language carrier are the specific words of one nation, which loads rich national information of culture.&lt;br /&gt;
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====2.2 Categorization of Culture-Loaded Words====&lt;br /&gt;
Nida E.A. mentioned five cultural categories of translation in his famous book—''Language, Cultural and Translation'' (Nida, 1993:91). They are ecological culture, material culture, social culture, religious culture and linguistic culture. There five culture categories can be used into the concept of culture-loaded words so that the classification of culture-loaded words came out. Further, Newmark P. put forward five kinds of culture words: ecological culture, material culture, social culture, custom and religion and gesture and habit in ''A Text of Translation'' (Newmark, 2001:94). They have many similarities in culture or culture words categories. This paper mainly focuses on Nida’s theory of classification of culture-loaded words.&lt;br /&gt;
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====2.2.1 Ecological Culture-Loaded Words====&lt;br /&gt;
Ecological culture-loaded words are related with natural geographical environment, weather change, animals and plants in a certain community. For instance, in the perspective of geographical position, China is a land country but England is a water country. If we describe someone spends money without restrictions, Chinese is “挥金如土”but English is “spend money like water”. We use “土”to describe the degree of money but in English, they use “water” to express this image. In addition, “羊肠小径”can be translated into “a small twisting path”(Mei 2016:137). In Chinese, the conception of “羊肠”can be collocated with “小径”. However, in English, “羊肠”cannot be collocated with “小径”so that the literal meaning of “羊肠”cannot be translated directly but translated to “small twisting” to collocated “path”. The other example is “走水”. This word is loaded with Chinese culture, which means fire rather than water. So we translate it as “fire” in English rather than water.&lt;br /&gt;
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====2.2.2 Material Culture-Loaded Words====&lt;br /&gt;
Material culture-loaded words refer to the special material objects in different cultures (Chen 2011:144). These words include food, clothes, buildings, vehicles and so on. For example, some Chinese food like “饺子”、“馄饨”、“包子”, some Chinese clothes like “旗袍”、“中山装” , some Chinese buildings like “长城”“故宫” and some Chinese vehicles like “黄包车”“轿子”. These objects only exist in China and other countries do not have such objects. So such words as material objects loaded with national culture are called Material culture-loaded words.&lt;br /&gt;
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====2.2.3 Social Culture-Loaded Words====&lt;br /&gt;
Social culture is inclusive of tradition, custom, social rules, moral principles, history backgrounds and ideology and so on (Chen 2011:144). Besides, some words connected with social decorum, social status and some entertaining activities are also regarded as social culture-loaded words. In a word, if some words engage in society and load the special culture of one certain country, they are social culture-loaded words. For example, from the perspective of Chinese culture, “三跪九叩”—this kind of social decorum in ancient China. Some Chinese traditional festivals like “七夕节”“端午节”and so on (Mei 2016:137). Some ancient Chinese political status like “状元”“举人”“榜眼”“探花”and so on .&lt;br /&gt;
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====2.2.4 Religious Culture-Loaded Words====&lt;br /&gt;
Religious culture-loaded words refer to some words loaded with some ideas, beliefs and ceremony related to religions. As to religion, oriental countries have much difference with western countries. Even in western countries, they also have different religious beliefs. For example, from the perspective of Chinese religion, we have the special culture religion called “八字”“算命先生”“看风水”(Mei 2016:137). These things do not exist in western countries. Some “八字先生” can forecast one’s life fortune with the birth date, which is critical miraculous. So we call “八字先生” fortune-teller. Other instances are “观音菩萨”“如来佛祖”“法师”and so on.&lt;br /&gt;
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====2.2.5 Linguistic Culture-Loaded Words====&lt;br /&gt;
Linguistic culture-loaded words refer to that different spoken manner and habits in different ethnics, which are manifested in phonological, lexical and syntax levels ((Mei 2016:137). The examples are naming and the use of idioms. Linguistic culture-loaded words treat words from the perspective of language characteristics. For example, Chinese and English have much difference in perspective of the two languages. Chinese is made up of many short sentences and lack of structure but English are long sentences made up of a lot of clauses and have strict structures. Chinese uses many verbs while there are many stative words like nouns, prepositions and adjectives in English. In a word, there are so many linguistic differences in Chinese and English. For example, the translation of“二月二，龙抬头，大仓满，小仓流”is “When dragon raises its head, abundant harvests of crops are promised ahead”.&lt;br /&gt;
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===3. The Translation Theory of Mewmark===&lt;br /&gt;
====3.1 Semantic Translation====&lt;br /&gt;
Semantic translation, similar to foreignization, struggles to keep the linguistic characteristics and original expressive manner of original works and transmit the thought process of the author. It should be initially faithful to the author and transmit the correct meaning of the original work with the permission of words and phrases structures (Zhang 2008:143). The focus of semantic translation is the original work and author, which tries to achieve the original text’s effect. In other words, on the basis of not undermining the meaning of original text, translators should keep the original text’s grammatical rules, semantical and syntactic structures as much as possible. Semantic translation preserves the cultural characteristics of the original works to achieve the transmission of social culture.&lt;br /&gt;
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The art value generated by translation is as eternal as original work. For example, when Wen Xianliang translated Li Bai’s ''The Trader’s Wife''—“Lang rides a bamboo horse and makes green plums around the bed” （郎骑竹马来，绕床弄青梅）, he translated “青梅”into “green plums”, which uses semantic translation to preserve the unique expression of the original text (Zhang 2008: 143). The other example is put forward by Feng Jiajia-- Lu Xun’s novel. &lt;br /&gt;
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''The True Story of Ah Q'': “所以不敢僭称,便从不入三教九流的小说家所谓“闲话休提言归正传”这一句套话里,取出“正传”两个字来,作为名目”。&lt;br /&gt;
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I will take as my title the last two words of stock phrase of the novelist, who are not reckoned among the Three Cults and Nine Schools. ——Yang Xianyi and Dai Naidie tranlasted.&lt;br /&gt;
From that we can see, they translated “三教九流”into “Three Cults and Nine Schools”, which uses the method of semantic translation. “三教九流”is an saying in Chinese, foreigners cannot understand its true meaning, but Yang Xianyi also uses an annotation to interpret it. It is one method to make expression more clear when using semantic translation (Feng 2010:109).&lt;br /&gt;
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====3.2 Communicative Translation====&lt;br /&gt;
Communicative translation, similar to domestication, focuses on the target readers rather than the original author. The translator moves closer to the target language by adjusting syntactic structures and logical relationship without destroying the original text. As to the national culture, the translator should fully understand the culture of target language so that the target readers can understand the work better. It focuses on the meaning and content rather than the text form itself any more, which transmits the information for reader to think, feel and act (Zhang 2008: 143). It is used in the non-literary text, technical text and textbooks and so on. &lt;br /&gt;
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There is an advertisement example of alcohol put forward by Zhang Jianhui for us to understand what communicative translation is——&lt;br /&gt;
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&amp;quot;爽口顺喉，和醇耐味，名贵高尚&amp;quot;——Sensuously Smooth; Mysteriously Mellow; Gloriously Golden. &lt;br /&gt;
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The consonant “s” imitates a lot of oohs and aahs after drinking, the consonant “M” symbolizes the expression of wine-tasting and the explosive “G” manifests the deep exaltation from wine-tasters. This advertisement uses the method of communicative translation to transmit a kind of elegance.&lt;br /&gt;
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====4. Analysis of the Translation of Culture-Loaded Words in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
====4.1 Semantic Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
''The Concubine Market of Yangchow'' is an essay in classical writing style belonging to the category of literature. In Newmark’s opinion, literary works should use the method of semantic translation to show the exotic custom and flavor to readers. The original linguistic characteristics and custom should be preserved. In order to disseminate Chinese culture around the world, a lot of culture-loaded words in semantic translation can be discovered in Lin Yutang’s translation version.&lt;br /&gt;
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(1) 扬州人日饮食于瘦马之身者数十百人。(Line 1)&lt;br /&gt;
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At Yangchow, there were hundreds of people making a living from activities connected with the “lean horses”. (Line 1)&lt;br /&gt;
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In classical style of writing, “饮食”cannot be translated into “eating and drinking” in modern Chinese. Here, “饮食”means “make a living” in classical style of writing and Lin Yutang translated it properly. “瘦马”in this passage does not refer to the lean horse in literal meaning but the thin girls brought up to be the nobles and the rich’s concubines. But Lin Yutang translated “瘦马”according its literal meaning rather than “concubines”, which reflects the ancient Chinese cultural characteristic (Zhao 2019:36). Readers may be confused when reading this word but they can understand its meaning after looking through the whole passage or the content below. &lt;br /&gt;
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(2)牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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Here, “如蝇附膻”is translated semantically. Lin uses a metaphor to compare professional agents and go-betweens with flies crazy about the flavor of mutton, reflecting their snobbishness and worship of money. The interpretation of “如蝇附膻”in deep meaning is to describe that people serve the time and seek fame and fortune. But Lin does not translate the connotative meaning but the denotative meaning because the image of “flies” is the same in all culture and foreigners can understand in that context. This measure keeps the original feature and makes read understand easily. &lt;br /&gt;
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(3) 牙婆扶瘦马出，曰：“姑娘拜客。”下拜。曰：“姑娘往上走。”走。(Line 4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!” The girl curtsied. Next was said, “Kuniang, walk forward!” She walked forward. （Line 11）&lt;br /&gt;
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Here, “姑娘”is translated into “Kuniang” in transliteration rather than “girl”, but Lin adds an annotation in the follow for interpretation(Zhao 2019:36). So transliteration with an annotation is one resort to semantic translation. In Chinese, we often use Kuniang to refer to a girl, which is our tradition since the ancient China and loads a long historical culture. Actually, the meaning of“上”in “姑娘往上走”is not walking upward but forward because “上”in ancient Chinses means “forward” in modern Chinese. I think Lin uses the semantic translation here to preserve Chinese culture.&lt;br /&gt;
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(4) 高系其裙，人未出者而趾先出者，必小。（Line 9）&lt;br /&gt;
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But if she wears her skirts relatively high and reveals her feet as she takes a step forward, you already know that she has a pair of small feet that she is proud of. (Line23)&lt;br /&gt;
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In Chinese historical and cultural tradition, from ancient times to 1911, women should bind their feet because men regarded three- inch “golden lotuses (woman’s bound feet in feudal age) was beautiful. It was Sun Yat-sen who overthrew this system in his revolution and women were free from their feet. So in The Concubine of Market in which the story happened in Ming dynasty, women were still need to bind their feet. Lin translates “必小”into “a pair of small feet” with an annotation “she is proud of”, which helps foreigners to better understand the tradition of small feet of women in ancient China.&lt;br /&gt;
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(5)看中者，用金簪或钗一股插其鬓，曰“插带”。（Line 12）&lt;br /&gt;
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If the gentleman decided he would take a certain girl, he would put a gold hairpin or ornament on her hair, this was called tsatai. (Line 18)&lt;br /&gt;
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As for the translation of “插带”, Lin translated it into “tsatai”by means of transliteration. This a special call used by people of Ming dynasty. “带”refers to a gold hairpin or ornament. The action of “插带”refers to put a gold hairpin or ornament on one girl’s hair. Lin preserves the pinyin of “插带”because he has interpreted this before. From that, readers can know more about ancient Chinese culture (Zhao 2019:36).&lt;br /&gt;
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(6)用笔蘸墨，送客点阅。（Line 18）&lt;br /&gt;
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The owner would dip the brush in ink and hold it ready for the customer to check and make any amendments he might wish.(Line 48)&lt;br /&gt;
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“笔”here refers to “毛笔”which is used by Chinese and there is no “毛笔”in western countries. So Lin translated it according to our own object rather than finding some similar object to equalize it. &lt;br /&gt;
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(7)礼币糕果俱齐。（Line 21）&lt;br /&gt;
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Ceremonial papers, fruit and pastry also arrived.(Line 52)&lt;br /&gt;
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“礼币”of the wedding in foreign countries means the gifts or money offered by guests or relatives. In China, it also has this meaning but there is a special action in ancient China or even today that hosts will record the name of gifts and givers on the papers. So Lin translated “礼币” into “ceremonial papers”, which preserves the unique Chinese wedding characteristic. &lt;br /&gt;
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(8)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“花轿”is a special sedan chair used to carry the bride in Chinese traditional wedding. It is always decorated gorgeously and made in red to symbolize the celebration and auspiciousness. “花灯”, a traditional folk art, is made up by paper outside, candles inside and bamboos as the lantern bone. When at wedding, it is usually in red because red is the symbol of Chinese wedding. Lin translated the two words according to each Chinese words like “花”and “轿”, “花”and “灯”(Zhao 2019:36).&lt;br /&gt;
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====4.2 Communicative Translation Theory in ''The Concubine Market of Yangchow'' ====&lt;br /&gt;
If the translator uses communicative translation, he must stands on the side of readers for the purpose that readers can better understand the text. The translator must think deeply and try to find some equivalent words in other cultures. Then he uses these equivalent words which could be understood by readers to replace the original words. In Lin Yutang’s translation version of The Concubine Market of Yangchow, he used communicative translation many times.&lt;br /&gt;
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(1) 牙婆驵侩，咸集其门，如蝇附膻，撩扑不去。(Line 2)&lt;br /&gt;
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The professional agents and go-betweens, both men and women, would swarm about his house or hotel like flies, and there was no way of keeping them off. (Line 4)&lt;br /&gt;
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“牙婆”refers to the women making profits from selling young girls. The original meaning of “驵侩”is go-betweens in horse sales and it refers to the between businessmen introducing the deals later. So Lin translated these in “the professional agents and go-betweens” so that English readers can understand Chinese special appellations in their thinking patterns.&lt;br /&gt;
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(2) 牙婆扶瘦马出，曰：“姑娘拜客。”(Line4)&lt;br /&gt;
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At once the woman agent would come out with a girl and announce, “Kuniang (mademoiselle), curtsy!”(Line11)&lt;br /&gt;
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“拜客”, one kind of Chinese etiquette, refers to kneel on the ground and kowtow (Zhao 2019:37). It is not the meaning in western countries of visiting guests. So Lin translated it into “curtsy” accurate to its original meaning.&lt;br /&gt;
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(3) 用金簪或钗一股插其鬓。(Line 12)&lt;br /&gt;
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He would put a gold hairpin or ornament on her hair. (Line 18)&lt;br /&gt;
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Lin used semantic translation to interpret“金簪”into “gold hairpin”. But as for “钗”, he did not find the equivalent in western culture but used “ornament” to replace it. “钗”is indeed an hair ornament used by ancient women to make their hair beautiful.&lt;br /&gt;
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(4) 出钱数百文，赏牙婆或赏其家侍俾。(Line12)&lt;br /&gt;
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A tip of several hundred cash was given the woman agent or the maids of the house.(Line 31)&lt;br /&gt;
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“文”is the unit of money in Ming dynasty. But Lin translated “文”into cash, which uses the communicative translation so that readers can understand the meaning of “文钱”(Zhao 2019:37). &lt;br /&gt;
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(5) 心与目谋，毫无把柄，不得不聊且迁就，定其一人。（Line 16）&lt;br /&gt;
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One does not know what to decide or which to take, and eventually makes his choice on one of them. (Line 40)&lt;br /&gt;
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“心与目谋” means the customer is tired of watching and selecting the girls and“毫无把柄” means the customer has no thought and cannot make the decision. Lin translated these difficult phrases in their connotative meaning which can be easily understood by readers. &lt;br /&gt;
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(6) 归未抵寓，而鼓乐盘担，红绿羊酒在其门久矣。（Line 20）&lt;br /&gt;
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Before he arrived at his own place, drummers and musicians and carrier-loads of lamb and all kinds of wines were already here. (Line 50) &lt;br /&gt;
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“鼓乐” means drum and song sound. “盘担” refers to huge boxes loading the precious food. “红绿”is not to replace the color of red and green but to describe the color of food especially wine are various rather than only red and green. So Lin use “盘担”to describe “羊”and “红绿”to describe wine. Besides, metonymy is used by translating“鼓乐”into “drummers and musicians”. Such adjustment and change can make the original sentence clearer.&lt;br /&gt;
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(7)而花轿花灯、擎燎火把、山人傧相、纸烛供果牲醴之属，门前环视。（Line 21）&lt;br /&gt;
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There came back with the band, floral sedan chair, floral lanterns, torches, handled torches, sedan chair carriers, bridesmaids, candles, more fruit and roasts. (Line 54)&lt;br /&gt;
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“擎燎” means holding the torch in hand. “傧相”means bridesmaids in modern Chinese and Lin also translated in its modern meaning so that readers can better understand. The wedding supplies of “纸烛供果牲醴”, which are special in Chinese traditional wedding because there are some unique wedding ceremonies in ancient China such as “bowing to the groom and guests” and “entering the bridal chamber” and so on. Though Lin cannot translate its full meaning, he also find some equivalent words in English. &lt;br /&gt;
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(8)未去半里（Line 21）&lt;br /&gt;
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Before they had gone a quarter mile.(Line 54)&lt;br /&gt;
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“半里”, one method of calculating distance, refers to 250 meters. Lin used “mile” , this call often used by English people, to refer to “半里”(Zhao 2019:37).&lt;br /&gt;
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(9)则蔬果、肴馔汤点、花棚糖饼、酒壶杯箸、龙虎寿星。（Line 23）&lt;br /&gt;
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Vegetables, meats and sweets, followed by awnings, table service, longevity stars. (Line 58)&lt;br /&gt;
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Though “肴馔”“糖饼”does not manifest their full meaning by “meats and sweets, westerns countries can understand this appellation. The original meaning of“酒壶杯箸”is that wine pots, cups and chopsticks. But Lin translated it into table service because these are tools for eating and drinking. “龙虎”in Chinese means longevity but in western culture, they are bad things and have inauspicious meaning so that Lin just translated them in “longevity star” (Zhao 2019:37)&lt;br /&gt;
&lt;br /&gt;
(10)新人拜堂。(Line 26)&lt;br /&gt;
&lt;br /&gt;
The bride came up and performed the wedding ceremony (by bowing to the groom and guests). (Line 64)&lt;br /&gt;
&lt;br /&gt;
“新人”cannot be translated into “new men” because “新人”means “bride” here. “拜堂” is a Chinese traditional wedding ceremony rather than visiting a house. Lin interpreted these words with new words rather than translating their meaning word by word.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''The Concubine Market of Yangchow'', an essay written by Zhang Dai, helps Chinese know more details about “lean horse” industry in Ming dynasty and Lin Yutang’s translation version helps western people know more about Chinese traditional culture. As for the question, how Lin Yutang translated such passage full of Chinese culture for English readers and achieved the successful cross-culture communication is probed in this paper. I used Newmark’s translation theory inclusive of semantic translation and communicative translation to analyze Lin Yutang’s translation for culture-loaded words. This paper made some contributions to analysis of culture-loaded words and enriched the realm of culture-words research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Nida, E. ''Language, Cultural and Translation''[M]. Shanghai: Shanghai Foreign Language Education Press, 1993: 91.&lt;br /&gt;
&lt;br /&gt;
[2] Newmark, P. ''A Textbook of Translation''[M]. New York:Prentice Hall, 1988: 94.&lt;br /&gt;
&lt;br /&gt;
[3] 卜正民. 《为权力祈祷：佛教与晚明中国士绅社会的形成》[M]. 南京：江苏人民出版社, 2005: 43.&lt;br /&gt;
&lt;br /&gt;
[4] 冯家佳, 黄建凤. 纽马克翻译理论与汉语文化负载词的翻译[J]. 《东南亚纵横》, 2010(07): 109.&lt;br /&gt;
&lt;br /&gt;
[5] 胡文仲.  《跨文化交际学概论》[M]. 北京：外语教学与研究出版社, 1999: 64.&lt;br /&gt;
&lt;br /&gt;
[6] 廖七一.  《当代西方翻译理论探索》[M]. 南京：译林出版社, 2002: 232.&lt;br /&gt;
&lt;br /&gt;
[7] 林语堂. 《扬州瘦马：汉英对照/（战国）庄子等著；林语堂英译》[M]. 合肥：安徽科学技术出版社, 2012:44-48.&lt;br /&gt;
&lt;br /&gt;
[8] 梅艳红, 南华. 目的论视角下语言类文化负载词的英译——以巴金《家》为例[J]. 《广西教育》, 2016(07): 137.&lt;br /&gt;
&lt;br /&gt;
[9] 张建辉, 陈凯.  彼得·纽马克翻译理论浅析[J]. 《河北师范大学学报》, 2008(06): 143.&lt;br /&gt;
&lt;br /&gt;
[10] 张则桐. 买妾程式中的热闹和苍凉[J]. 《寻根》, 2021(5): 19.&lt;br /&gt;
&lt;br /&gt;
[11] 赵慧慧.  浅析林语堂《扬州瘦马》中文化负载词的英译——从归化与异化的角度[J]. 《青年文学家》, 2019(27): 36-37.&lt;br /&gt;
&lt;br /&gt;
=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=&lt;br /&gt;
[[Cult_Load_Words_EN_11]]&lt;br /&gt;
&lt;br /&gt;
Hunan Normal University, China &lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
在中华文化“走出去”的战略背景下，传播好优秀的中国传统文学作品是当今译者面临的重要任务。我国文学作品富含诸多文化负载词，反映我国社会的精神面貌，独具中国意味。如何把汉语文化负载词巧妙地传递到译文中去，是文学作品外译必须关注的问题。&lt;br /&gt;
&lt;br /&gt;
《老残游记》是清末晚期四大谴责小说之一，以老残的视角揭露了清末中社会中种种黑暗现实，其中蕴含着各类文化负载词。《老残游记》有多个英译本，其中哈罗德的译本最受欢迎。哈罗德译序中提到希望传播中国文化，他在翻译时直译为主，大量加注，方便译文读者了解中国文化，有利于中华文化的传播。本文将以哈罗德的译本为研究对象，根据图式理论探究哈罗德在三种图式情况下，即图式契合、图式相异和图式空缺的情况下，翻译各类文化负载词是所采取的的翻译策略。这些翻译方法，或是激活了他们在本文化中已习得的文化图式，或是对原有文化图式进行了一定程度的调整，或是以新建图式的方式来使译入语读者更好地理解译文，指的注意的是，这些新图式的创建中所提供的文化信息总是能激活译文读者的某些文化图式信息，使得新创建的文化图式发挥作用。&lt;br /&gt;
&lt;br /&gt;
===关键词：《老残游记》；文化图式理论；文化负载词===&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In the context of the strategy of &amp;quot;going global&amp;quot; for Chinese culture, the dissemination of fine traditional Chinese literature is an important task for translators today. Chinese literary works are rich in culture-loaded words, reflecting the spiritual outlook of our society and having a unique Chinese meaning. How to subtly convey the Chinese cultural load words into the translation is an issue that must be paid attention to in the translation of literary works.&lt;br /&gt;
&lt;br /&gt;
''Lao Can You Ji'' is one of the four major satire novels of the late Qing Dynasty. It exposes the dark reality of society in the late Qing Dynasty from the perspective of Lao Can and contains various culture-loaded words. Of several translation versions, The Travels of Lao Ts’an translated by Harold stands out as the most popular one in English-speaking countries. The preface to Harold's translation mentions his intention to spread Chinese culture, and his translation is a predominantly literal translation with extensive notes to facilitate the understanding of Chinese culture by target readers, which is conducive to the spread of Chinese culture. This paper will take Harold's translation as the object of study and explore the translation strategies adopted by him in translating various types of culture-loaded words from cultural schema theory, namely, words with corresponding cultural schema, divergent cultural schema, and vacant cultural schema. These translations either activate the cultural schemas they have acquired in their own culture, or adapt the original cultural schemas to some extent, or create new schemas in order to make the translation better understood by the readers of the source language. It’s worth noting that the cultural information provided in these newly created schemas always activates some cultural schema information in the target readers so that they could successfully come into play.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
''Lao Can You Ji''; Cultural Schema Theory; Culture-loaded Words;&lt;br /&gt;
&lt;br /&gt;
===1 Introduction===&lt;br /&gt;
====1.1 Introduction to ''Lao Can You Ji'' and its Translated Versions====&lt;br /&gt;
''Lao Can You Ji'' is one of the masterpieces of fiction produced at the turn of the 20th century, during the closing years of the Qing dynasty (1644-1911), the last imperial period in Chinese history. Like other important novels written in that era of national crisis and cataclysmic transition from the old empire to the new republic, ''Lao Can You Ji'' is characterized by a grave concern with the perilous condition of the China of that day and its future fate and captures &lt;br /&gt;
“the emerging modern society of China in all its complexity, diversity and uncertainty.” &lt;br /&gt;
&lt;br /&gt;
As one of the masterpieces in Chinese classics, ''Lao Can You Ji'' enjoys a high position in the domestic and overseas academic circle. It was introduced to western readers as early as 1929 when the famous sinologist Arthur Waley first translated two of this novel into English and gave the title The Singing Girl. In 1936, Lin Yutang translated the sixth chapter of the novel into English with the title A Nun of Taishan and it was published by Commercial Printing Press. In 1947, the Yangs translated it into English with the initial tile Mr. Derelict first published at home and soon published in London in 1948. Later this title was changed into The Travels of Lao Can that was chosen as one of Panda Books aiming to introduce Chinese culture to the western world in the1980s. in 1939, Harold Shadick finished the translation of ''Lao Can You Ji'', and his version is entitled ''The Travels of Lao Ts’an''. In 1952, this version was published in New York and was the most integrated version.&lt;br /&gt;
&lt;br /&gt;
====1.2 Research Significance and Objectives====&lt;br /&gt;
Lao Can You Ji is abundant with culture-loaded words, reflecting the quintessence of Chinese culture that should be introduced and disseminated abroad. Cultural schema theory, as a new theory deriving from schema theory, centers on culture and provides new insights into the studies of translating culture-loaded words. in this thesis, the author attempts to analyze the translation of culture-loaded words in ''The Travels of Lao Ts’an'' by Harold Shadick from the perspective of cultural schema theory. Through a detailed case study, the author tries to verify the explanatory power and feasibility of cultural schema theory in the translation of culture-loaded words. Besides, this paper points out that translators should be keenly aware of vultures, continuously enrich their schema knowledge of cultures in order to further Chinese culture transmission and make more excellent Chinese literary works known in the world.&lt;br /&gt;
&lt;br /&gt;
===2 Literature Review===&lt;br /&gt;
In this chapter, an overview is to be given to previous studies on cultural schema theory and on culture-loaded words respectively.&lt;br /&gt;
&lt;br /&gt;
====2.1 Previous Studies on the Translation of Culture-loaded words ====&lt;br /&gt;
Cultural schema theory is the knowledge structure about culture existing in people’s minds. Throughout the researches on cultural schema theory, it has found application in a number of fields including philosophy, cognitive psychology, intercultural communication and reading comprehension, etc. &lt;br /&gt;
&lt;br /&gt;
First of all, a large number of studies on the topic of cultural schema and teaching have been conducted. Rice (1980) explores the function of cultural schema in the process of stories comprehension. Yang Yang (2008) holds that “cultural schema affects students’ usage of reader-based processing and text-based processing in reading”. Xiang Qin (2017) discusses the application of cultural schema theory in listening teaching and reveals that the activation of students’ cultural schema can improve their listening comprehension. &lt;br /&gt;
&lt;br /&gt;
Besides, cultural schema theory is also applied to the field of intercultural communication. Ningbo and Tang Degen (2008) reveals that related cultural schemata can be created. Meanwhile, host and guest cultural schemata can be organically integrated during intercultural communication. Peng yunpeng (2011) elaborates the relationship between cultural schemata and intercultural communication and states that the adjustment and creation of cultural schema are conducive to intercultural communication. Nishida (2014) explicates the function of cultural schema. At the same time, nine crucial axioms are generated when cultural schema theory is applied to cross-cultural adaption.&lt;br /&gt;
&lt;br /&gt;
As far as translation is concerned, both foreign and domestic researchers have proposed their opinions. In his Translation and Translating: Theory and Practice, Bell (1991) highlights the role played by the schema in cognition and introduces schema into translation studies. Researchers in China share a common belief that the focus of studies in the cultural schema is analyzing the comprehension process of language learners, especially in receptive language skills. In recent years, there have been frequent attempts to explore cultural schema theory from the perspective of translation studies. Peng Jianwu (2000) first touched upon the issue of schema theory in translation, with translation comprehension as the main focus of his research. He also noted the phenomenon of culture-related concepts and their impact on translation, which inspires more discussion about the inner working mechanism of the human mind during translation and reading comprehension. Liu Mingdong (2002) linked the two by examining schema theory in text comprehension and proposed strategies to cope with problems caused by the lack of cultural background knowledge. Later in his research, the concept of cultural schema was presented with a thorough discussion of its translatability. His three models of translating cultural schema including A-A, A-B, and A-Zero (Liu Mingdong,2003:30), namely cultural schema correspondence, cultural schema conflict, and cultural schema default, serve as a guidance for culture-specific translation. he also concluded that in translation, one has to translate schema by decoding the ST schema and encoding the TT schema. He went a step further with Liang Wei by illustrating the strategies in both English and Chinese translation of cultural schema conflict through comparing cultural schema in the two languages. What’s more, he worked with Chen Xibei (2008) and gave a detailed analysis of the domestication and foreignization approach to the translation of cultural schema and brought the discussion of translation strategy up to the level of culture, poetry, and politics. They continued to give a summarized account of cultural schema theory and the research that had been done before, which greatly contributed to the full understanding of the theory.&lt;br /&gt;
&lt;br /&gt;
====2.2 Previous Studies on Cultural Schema Theory====&lt;br /&gt;
With the aim of promoting cross-culture communication, much attention has been paid to the task of interpreting culture-loaded words since the cultural turn in translation studies. Throughout previous studies, quite a number of scholars mainly concentrate on the translation principles and approaches of translating culture-loaded terms. Besides, applying various translation theories into the translation of culture-loaded words in different sorts of text is also highlighted. &lt;br /&gt;
&lt;br /&gt;
Most scholars proposed translation methods or strategies for handling translation problems on the basis of their own translation practice. For example, in Mona Baker’s In Other Words: A Coursebook on Translation, culture-specific concepts are defined and eight methods by professional translators are proposed. Those eight methods include “(1) translation by a more general word (superordinate); (2) translation by a more neutral/less expressive word, (3) translation by cultural substitution; (4) translation using a loan word or loan word plus explanation; (5) translation by paraphrase using a related word; (6) translation by paraphrase using unrelated words; (7) translation by omission; (8) translation by illustration” (Mona, 2000:26-42).&lt;br /&gt;
&lt;br /&gt;
Chinese scholars also did a lot to explore appropriate support for the translation of culture-loaded words. On the one hand, some scholars concluded translation methods to solve specific problems or express their tendency to some translation strategies in translation practice. Wang Dongfeng summarized five methods to deal with the cultural default in the translation of culture-loaded words and expressions: “(1) annotation outside text; (2) contextual amplification; (3) adaptation; (4) omission; (5) literal translation without annotation” (Wang Dongfeng, 1997:58-59). While Xu Jun (2001) believed that transliteration, literal translation, and literal translation plus denotation should be employed in the translation of culture-loaded terms.&lt;br /&gt;
&lt;br /&gt;
In recent years, in response to the national strategy of “going out”, some scholars take the introduction of Chinese culture as the first priority, especially in translating culture-loaded words in literary works. Wu Wenyan summarized the translation principles of culture-loaded words in her paper, which are retaining the cultural information of the original text, making the expressive pattern of translated text conform to the target language, and ensuring the targeted text closing to the readers’ thinking mode (Wu Wenyan, 2014:166).In order to promote Chinese culture to the world, Zheng Dehu argued that “translators should try to adopt a method based on alienation when translating Chinese culture-loaded words. in his opinion, the diversification of translations may hinder the spread of Chinese culture and weaken the international influence of Chinese culture” (Zheng Dehu, 2016: 55).  &lt;br /&gt;
&lt;br /&gt;
Moreover, some different theories are applied to analyze the translation of culture-loaded terms, including eco-translatology theory, skopos theory, register theory, and so on. Still, much room has been left to the study of the translation of culture-loaded words based on culture schema theory. Therefore, in this thesis, the translation of culture-loaded terms will be expounded from the perspective of cultural schema theory. &lt;br /&gt;
&lt;br /&gt;
===3 Theoretical Framework===&lt;br /&gt;
In this chapter, the author is to give a brief introduction to cultural schema theory, including its definition, main features, and classification.&lt;br /&gt;
&lt;br /&gt;
====3.1 The Definition of Cultural Schema====&lt;br /&gt;
To get a whole understanding of cultural schema theory, it’s necessary to know what the cultural schema is and its main features. Different scholars gave their own explanations of the cultural schema in their studies. Anderson (1978) thought that culture schema is a conceptual approach to describe one’s stored cultural knowledge. It determines the way how he or she explains cultural expressions and experiences. This cultural conceptual framework is stored in people’s minds as a series of abstract cognitive structures or schemata that consist of objects or events. Bedir thought that cultural schema is the background knowledge related to the cultural part of a learned language (Anderson, 1992: 8). George Yule saw it as “pre-existing knowledge structures based on experience in a particular culture” (Yule, 2000: 87). According to Malcolm and Sharifian (2002), cultural schema refers to some conceptual structures where expressions and experiences relating to culture are stored.&lt;br /&gt;
&lt;br /&gt;
Taking the definitions given by western scholars as references, Liu Mingdong and Chen Xibei gave their own understanding of cultural schema. In their opinion, the cultural schema is the already existing knowledge connected with the customs, traditions, and habits of a certain culture, which can be obtained from people’s past experience and stored in their minds (Chen and Liu, 2011: 28-31). All the background knowledge could be concluded in culture schema, such as region, geography, custom, and so on. That is to say, people in different cultures or different districts may have a different cultural schema.&lt;br /&gt;
&lt;br /&gt;
====3.2 Main Features of Cultural Schema====&lt;br /&gt;
According to Zhou Wenwei and Liu Mingdong’s researches, cultural schemata entail various characteristics. The first one is the feature of similarity. People possess identical recognition towards the same things, although they live in divergent geographical environments. It is notable that “our cultural environment provides ubiquitous experiences and cultural schemata are built up through many encounters with similar events or information in one’s own culture” (Nishida,2014: 410). Endowed with the characteristics of similarity, cultural schemata are shared by people in different nations.&lt;br /&gt;
&lt;br /&gt;
Uniqueness, in the second place, acts as another apparent characteristic of cultural schemata. Cultural schemata in different nations differ from one another, due to the fact that people’s recognition in different nations is affected by distinctive cultures and civilizations. For instance, the uniqueness of ancient Chinese culture. Egyptian culture as well as Greek and Roman cultures lead to people’s different perceptions of the world. “Some experiences are established on the basis of people’s past experiences. (Nishida, 2014: 403)”. In view of these experiences’ idiosyncrasy, cultural schemata are evidently unique in different nations.&lt;br /&gt;
&lt;br /&gt;
Inclusiveness, reveals still another feature of cultural schemata. In this sense, “cultural schemata are not immutable and frozen” (Chen and Liu, 2004:127), instead they are plastic and can be expanded. For example, cultural schemata of Christmas Day and Thanksgiving Day in Western countries are undoubtedly embraced by Chinese people with the passage of time. Chinese people gain a good mastering of these foreign cultures, which are taken in their original cultural schemata. By the same token, Chinese Kong Fu, being alien to western people, has been widely known to them nowadays. “Experience is the impetus for the construction of cultural schemata” (Nishida, 405). With the accumulation of people’s experience, newly encountered cultural schemata can be accessible to their previously acquainted cultural schemata. In other words, cultural schemata are inclusive, which contributes to broadening peoples’ exotic cultural knowledge. &lt;br /&gt;
&lt;br /&gt;
====3.3 Classification of Cultural Schema====&lt;br /&gt;
According to related studies on cultural schema theory as well as Chen Qian and Liu Mingdong’s researches, it is concluded that in the process of translation there are three categories of cultural schema. They are respectively corresponding cultural schema, divergent cultural schema and vacant cultural schema. &lt;br /&gt;
&lt;br /&gt;
=====3.3.1 Corresponding cultural schema=====&lt;br /&gt;
Corresponding cultural schema means the cultural schema of the SL text is identical or similar to that of the TL text. Under such circumstances, the pre-existing cultural schemata in the SL and the TL reveal identical or similar cultural connotations. Since people in different nations share different cultural norms and ways of thinking, “at least ninety percent of the fundamental structures of all languages are quite similar, and language universals far outweigh the divergences&amp;quot; (Nida, 2004: 99). As cultural schema is the abstract collection of knowledge stored in people’s minds, it is closely linked with people’s thinking modes. Accordant cultural norms and thinking modes, to some extent, gives rise to the corresponding cultural schema.&lt;br /&gt;
&lt;br /&gt;
For a translator, this kind of corresponding cultural schema between English and Chinese can be found. For example, snakes in Chinese culture are symbols of evilness and cruelty, as shown in the four-character phrase “蛇蝎心肠”. While the image of the serpent can be found in the Garden of Eden, which demonstrates a similar cultural schema. Commonalities of cultural schema between Chinese and English also occur in some other expressions, such as “以眼还眼，以牙还牙” and “an eye for an eye, a tooth for a tooth”, “祸不单行” and “misfortunes never come singly”, etc.&lt;br /&gt;
&lt;br /&gt;
=====3.3.2 Divergent cultural schema=====&lt;br /&gt;
Divergent cultural schema refers to inconsistent or opposite cultural schemata between the SL and the TL. “Schemata can represent knowledge about the meaning of a particular word and it is some configuration of these schemata that ultimately forms the basis of our understanding” (Rumelhart, 1980: 41). Cultural schemata abstracted from specific culturally salient words can supply consistent and correct comprehension among different nations.&lt;br /&gt;
&lt;br /&gt;
As a matter of fact, “Schemata not only contribute toward the development of an accurate perception habit. In particular, people in different cultures hold divergent cultural schemata towards the same thing. For instance, “dragon” in Chinese culture is highly regarded as the auspicious and magnificent symbol of the Chinese nation that we Chinese call ourselves the descendants of the dragon. In western culture, however, “dragon” is a symbol of viciousness. In Bible, it’s an alternative to Satan. &lt;br /&gt;
&lt;br /&gt;
=====3.3.3 Vacant cultural schema=====&lt;br /&gt;
The cultural schema in the SL absent in the TL leads to the default of cultural schema. As Carrell and Eisterhold point out, “one of the most obvious reasons why a particular content schema may fail to exist for a reader is that the schema is culturally specific and is not part of a particular reader’s cultural background” (Scott, 2001: 2). It shows that culturally specific schema sometimes is unavailable to people in different cultures. According to cultural schema theory, texts will appear disjointed and incomprehensible when readers fail to motivate the related cultural schema, for there is an important role assigned to the schema in comprehension and perception. &lt;br /&gt;
&lt;br /&gt;
Vacant cultural schema can be easily found in two distinct cultures. Chinese culture and western culture are both full of cultural schemata absent from each other. For example, in Chinese culture “鸿门宴” or Feast at Hongmen is historically specific. Deriving from the Chinese literary canon Shiji, it is related to Chinese historical heroes Xiangyu and Liu Bang and refers to an ill-disposed trap. “完璧归赵”, whose literal meaning is to return the jade intact to the State of Zhao, is endowed with the implication “to return something to its owner in perfect condition”. These terms fail to arouse corresponding schemata in western readers. Similarly, “Hippies” and “The judgment of Solomon”, being peculiar to western culture, are unfamiliar to Chinese people.&lt;br /&gt;
&lt;br /&gt;
===4  Translation of Culture-loaded Words in ''The Travels of Lao Ts’an'' from the Perspective of Cultural Schema Theory ===&lt;br /&gt;
In this chapter, the author mainly elaborates on Shadick’s approaches of translating culture-loaded terms in ''The Travels of Lao Ts’an'' from the Perspective of Schema Theory. In terms of cultural schema theory, three types of culture-loaded terms are presented at first. Then the approaches of translating culture-loaded terms in The Travels of Lao Ts’an are analyzed.&lt;br /&gt;
&lt;br /&gt;
====4.1 Words with Corresponding Cultural Schema ====&lt;br /&gt;
As is mentioned in the last chapter, despite the huge gap between different cultures, people share the same or similar experiences with their material life, which leads to common features in their cognition and ideas of things. In this case, mutual understanding is easily achieved through correspondent cultural schema. In''The Travels of Lao Ts’an'' by Harold Shadick, there are many cases where typical Chinese cultural elements in the ST, when translated into English, evoke cultural schema among English-speaking readers the same way as they do among Chinese readers. A few examples are given below to further illustrate the point.&lt;br /&gt;
&lt;br /&gt;
[1a]这路虽非羊肠小道，然忽而上高，忽而下低，石头路径，冰雪一冻，异常的滑。(Liu, 2015:52)&lt;br /&gt;
&lt;br /&gt;
[1b] Although it was winding “sheep gut path”, still it had sudden ups and downs, and the rock surface, frozen with ice and snow, was extremely slippery. (Liu, 2015:76)&lt;br /&gt;
&lt;br /&gt;
“羊肠小道” in the source text means a narrow winding trail or a narrow tortuous path, which is a tough road difficult to go through. When translating the phrase, Shadick employs literal translation. The analogy between a path and a sheep gut may be rarely seen in western culture, but the image of sheep gut is pretty vivid. Target readers could immediately understand the implicated meaning of the phrase by thinking about the sheep’s gut. &lt;br /&gt;
&lt;br /&gt;
[2a]那儿不是积功德呢。 (Liu, 2015:76)&lt;br /&gt;
&lt;br /&gt;
[2b] Isn’t this a way of piling up merit? (Shadick, 2015:82)&lt;br /&gt;
&lt;br /&gt;
The word “功德” is from Buddhist scriptures, which refer to virtues and merits. It may be a bit difficult for westerners to understand the scripture of Buddhism as most of them are followers of Christianity, which is quite different from Buddhism. However, the two religions do share some values. They both advise their followers to respect and honor goodness and despise disgrace and evil. The word “merit” could conjure up the same mental image in westerners as the word “功德” does in Chinese people. &lt;br /&gt;
&lt;br /&gt;
[3a] 虽说富贵浮云，未免太高尚了罢。(Liu, 2015:33)&lt;br /&gt;
&lt;br /&gt;
[3b] “Wealth and honor” may be “floating clouds”, but aren’t you a bit too high-minded? (Shadick, 2015:41)&lt;br /&gt;
&lt;br /&gt;
As seen from the above discussion, if people with different cultural backgrounds have correspondent cultural schemata, coupled with the fact that they are properly activated through translation, they would have no problem understanding each other in intercultural communication. In this case, culture-loaded words are transferred literally for the integrity of the content, during which cultural characteristics are retained along with the information for the full preservation of the original flavor of the ST. This saves translators a lot of effort. And more importantly, it makes things easier to understand as it appears more coherent by keeping the information flow of the ST. Of course, there are occasions when a certain amount of fine-tuning is needed to make the ST and TT seem more connected.&lt;br /&gt;
&lt;br /&gt;
====4.2 Words with Divergent Cultural Schema ====&lt;br /&gt;
Ideally, when two cultures share enough culture-related content and the gap between their boundaries is to be minimized, it’s hopeful for the translation to be on point. However, all cultures evolve relatively independently as a closed system, which invariably brings up the distinct features within the core of the culture. Therefore, more often than not, finding the right match for the cultural schema in the ST is no longer an act of taking something out from the shop window and giving it to the customer. Here comes the scenario: meet the need of the customer even if there is not the exact goods he/she demands. An accurate translation requires different strategies according to how the connection between the cultural schemata of the ST and the TT is formed. As for the case of cultural schema conflict, the main concern for the translator should be on the activation and adjustment of the preexisting cultural schema of the translation readers. From Shadick’s translation of The travels, we can see that the translator tries to transcend the cultural boundaries and create a deeper connection in translation instead of just duplicating linguistic features.&lt;br /&gt;
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Literal Translation with Note&lt;br /&gt;
&lt;br /&gt;
Literal translation, as the most common translation method, is a preferable way of preserving the linguistic meaning of the ST. However, to make up fpr the information loss resulting from the occasional cultural conflict, extra notes are often added in order to inform the readers of the implied cultural contents that may serve as the key to the proper understanding of the text.&lt;br /&gt;
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[4a]先生必有成竹在胸，何妨赐教一二呢？ (Liu, 2015:62)&lt;br /&gt;
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[4b]But perhaps you are like the painter of bamboo who ‘had the complete bamboo in his mind’.(Liu, 2015:68)&lt;br /&gt;
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Note: A poem by Ch’ao Pu-chig (1053-1110) contains the lines&lt;br /&gt;
When Yu-k’o painted the bamboo,&lt;br /&gt;
In his breast he had the completed bamboo.&lt;br /&gt;
Yu-k’o is the tzu of Weng T’ung (1018-1079), celebrated peot, calligrapher and painter. (Shadick, )&lt;br /&gt;
&lt;br /&gt;
In Chinese, “成竹在胸” is an idiom meaning “know how to deal with an affair”. This is an idiom with specific Chinese culture that can’t be easily understand by westerners. Hence, literal translation plus notation here make the target reader fully understand the meaning and origin of this idiom.&lt;br /&gt;
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Literal translation with explanation&lt;br /&gt;
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[5a] 老残道: “承两位过爱，兄弟总算有造化的了，只是目前尚无出山之志，将来如要出山，再为奉恳。” (Liu, 2015:23)&lt;br /&gt;
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[5b] Lao Ts’an answered, “I count myself fortunate to enjoy the goodwill of you two gentlemen, but just now I have no intention of ‘leaving the mountains’ and entering the official life. In the future, if I want to do so I will ask your help.” (Liu, 2015:27)&lt;br /&gt;
&lt;br /&gt;
Literally, “出山” means “leaving the mountains”. Yet there is a story behind the word. In ancient China, some people with talent who didn’t want to be involved in a mundane world especially officialdom chose to live a secluded life in the mountains. When they wanted to end such a recluse life and enter the official life, they had to leave the mountain. Gradually, “出山” bears a metaphorical meaning of being an official. When translating the word, Shadick employs literary translation with explanation, which manages to activate the cultural schema stored in the TT readers and in the meantime brings new cultural information to them.&lt;br /&gt;
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Free translation with notation&lt;br /&gt;
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[6a] 这一群人来了，彼此招呼，有打千的，有作辑的，大半打千的多。(Liu, 2015:16)&lt;br /&gt;
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[6b] As this crowd of people arrived there were mutual greetings, many genuflections, and a few low bows. (Liu, 2015:22)&lt;br /&gt;
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Note: The genuflection (ta-ch’ien-erh) is the salutation of the Manchu, the left leg bent, the right stretched behind, the right knee and right hand almost touching the ground. The lie bow (tsoo-i) is the common formal Chinese salutation consisting of a low bow with the hands hanging loosely below the knees and hidden by the sleeves, after which the clasped hands are raised to the level of the eyes.&lt;br /&gt;
&lt;br /&gt;
Etiquette codes vary from culture to culture. “打千” and “作辑” are etiquette specific to China. in this case, Shadick’s translation of “打千” as “genuflection” and “作辑” as “ low bow” is comprehensible to target readers. However, “打千” is different from “genuflection” after all,  and “作辑” is not the same as “ low bow”. The notation here can satisfy the needs of target readers who are interested in Chinese culture.&lt;br /&gt;
&lt;br /&gt;
====4.3 Words with Vacant Cultural Schema ====&lt;br /&gt;
As is mentioned before, cultural differences sometimes could be a serious matter. When it comes to cultural schema default, translators are confronted with a tricky task. And the biggest challenge in this type of translation comes from when certain aspects of one culture risk getting lost in translation since no correspondent cultural schema exists in TT culture that will remind TT readers of the cultural content presented in the ST. Under such circumstances, the communication will most likely end in failure if the text is translated literally. The right way to handle the challenge is to create a new schema by laying out all the information that is needed for the full comprehension of the text in the linguistic environment suitable for TT readers. We shall see examples in the Travels of Lao Ts’an and analyze how Shadick deals with vacant cultural schema in his translation.&lt;br /&gt;
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Free translation with annotation&lt;br /&gt;
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[7a] 风餐露宿 (Liu, 2015:2)&lt;br /&gt;
&lt;br /&gt;
[7b] an uneventful journey (Liu, 2015:5)&lt;br /&gt;
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Note: Feng ts’an lu su, lit., “eating in the wind and sleeping in the dew,” a conventional phrase. &lt;br /&gt;
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Here, the Chinese four-character idiom “风餐露宿” is rendered as “an uneventful journey” for Lao Can was not really “eat in the wind”. Shadick sacrifices the pattern of Chinese idiom and adopts free translation, which contributes to the comprehension among western readers, adapting to their cognition. However, it is worth noting that annotation is added to enrich the cultural schema of the target readers and help promote Chinese culture.&lt;br /&gt;
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Transliteration with annotation&lt;br /&gt;
&lt;br /&gt;
[8a]“那二郎、关爷多少正神常附在他身上，难道就不管管他吗？”(Liu, 2015:56)&lt;br /&gt;
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[8b] “If good spirits like Erh Lang and Kuan Yeh often visit him, how is it that they don’t retrain him?”(Liu, 2015:61)&lt;br /&gt;
&lt;br /&gt;
Note: Erh Lang, lit, “Second Son”, was a magician variously identified as son of the Jade Emperor, a Taoist deity, and as son of Li Ping, a third-century official noted for this success in flood control. Erh Lang was given posthumous titles by several later emperors. Kuan Yeh (Old Gentleman Kuan) is another name for Kuan Ti. &lt;br /&gt;
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Literal translation with annotation&lt;br /&gt;
[9a]“若要顾念 ‘父母官’ 三字，求为民除害，亦有化盗为民之法。” (Liu, 2015:34)&lt;br /&gt;
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[9b] If, on the other hand, you want to keep before you the ideal of a true “father and mother official”, and seek to remove those who harm the people, then there is the policy of turning robbers into honest people. (Liu, 2015:42)&lt;br /&gt;
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Note: The expression occurs in the Classics, e.g., Mencius. It was later applied specifically to district magistrates who are the officials nearest to the people.&lt;br /&gt;
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Chinese culture is one with hierarchical values. In old times when China was a feudal society, ordinary people were at the bottom of the class hierarchy and deemed officials as their father and mother, who could protect them and whose order they obeyed. With the title “father and mother official”, officials also hoped to win the trust of people in their precinct. However, in western culture, no such expression as “father and mother official” exists. Literal translation plus notes employed here by Shadick successfully transmit the cultural information.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
To sum up, there is a certain correspondence between the processing of cultural schemas and their translation strategies in the translation of Chinese-English cultural load words under different cultural schemas. Therefore, identifying the types of cultural schema and dealing with them flexibly can better help translators select corresponding translation strategies in a targeted manner and improve translation efficiency. At the same time, it is important to be aware that divergent schema and vacant schema are the key points and difficulties in translating culturally loaded words, and translators need to fully activate and construct new schemas to achieve accurate transmission of cultural information.&lt;br /&gt;
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It’s still a long way to go to have a mature opinion on the translation of culture-loaded words given the large quantity and complexity of these words. Besides, the classification of culture-loaded words may not be so scientific and somewhat subjective. Therefore, more examples should be adopted to make the study a more objective and comprehensive one for future studies. &lt;br /&gt;
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===References===&lt;br /&gt;
Bartlett, F. C. (1932). ''Remembering: A study in experimental and social psychology''[M]. Cambridge: Cambridge University Press.&lt;br /&gt;
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Nida, E. A. (2001). ''Language, culture and translation''[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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Nishida, H(2014).''“Cultural Schema Theory” Theorizing about Intercultural communication.''[J] Shanghai: Shanghai Foreign Language Education Press, 401-413.&lt;br /&gt;
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Rumelhart, D, E. (1980). ''Schemata: The building blocks of cognition.'' New Jersey: Lawrence Erlbaum Associates. &lt;br /&gt;
&lt;br /&gt;
Shadick, H.(2005). ''The Travels of Lao Ts’an'' [M]. Nanjing: Yilin Press.&lt;br /&gt;
&lt;br /&gt;
Chen X, Liu M.陈喜贝, 刘明东(2013). 文化图式理论研究综述[J] A Review of Cultural Schema Theory Research. 湘潭大学学报 Xiangtan University Institute Journal, 2013(2):216-218. &lt;br /&gt;
&lt;br /&gt;
Liu E 刘鹗 (2005). 老残游记  ''The Travels of Lao Can'' [M].  南京: 译林出版社. Nanjing: Yilin Press.&lt;br /&gt;
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Liu Mingdong 刘明东 (2003). The translatability of Cultura Schemas and Means [J] 文化图式的可译性及其实现手段. Chinese Translators Journal 中国翻译, 2003 (2): 28-31&lt;br /&gt;
&lt;br /&gt;
Liu Mingdong, Liu Kuanping 刘明东, 刘宽平 (2004). On Schema Culture [J] 图式文化漫谈. Foreign Language Teaching 外语教学, 2004 (4): 50-52.&lt;br /&gt;
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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 = &lt;br /&gt;
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殷慧珍 Yin Huizhen, Hunan Normal University, China &lt;br /&gt;
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[[Cult_Load_Words_EN_12]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Culture-loaded Words, ''The Spring Festival'', Domestication and Foreignization Strategies, Fang Huawen&lt;br /&gt;
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===题目===&lt;br /&gt;
归化异化策略下方华文《春节》中文化负载词的英译研究&lt;br /&gt;
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===摘要===&lt;br /&gt;
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。&lt;br /&gt;
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===关键词===&lt;br /&gt;
文化负载词《春节》 归化与异化翻译策略 方华文&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''.&lt;br /&gt;
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===Fang Huawen and ''The Spring Festival''===&lt;br /&gt;
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 &amp;quot;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.&lt;br /&gt;
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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 &amp;quot;Rockets&amp;quot;, &amp;quot;Rolling Mines&amp;quot;, &amp;quot;Fairy Scattering Flowers&amp;quot;, &amp;quot;Knights in Red&amp;quot; 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.&lt;br /&gt;
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===Culture and Culture-loaded Words===&lt;br /&gt;
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====The Brief Introduction of Culture====&lt;br /&gt;
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.&lt;br /&gt;
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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.&lt;br /&gt;
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.&lt;br /&gt;
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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)&lt;br /&gt;
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====The Brief Introduction of Culture-loaded Words====&lt;br /&gt;
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: &amp;quot;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&amp;quot; (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.&lt;br /&gt;
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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, &amp;quot;Mount Tai&amp;quot; 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, &amp;quot;a big fish&amp;quot; is literally translated into Chinese “一条大鱼”, but in English culture, it means &amp;quot;Great man&amp;quot;, because Britain is an island country surrounded by the sea, which reflects the influence of the sea on British culture.&lt;br /&gt;
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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 &amp;quot;Wu Xing(五行)&amp;quot;also known as the Five Elements or Five Phases. The system of five phases was used for describing interactions and relationships between phenomena. &lt;br /&gt;
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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, &amp;quot;aunt&amp;quot; in English refers to different people in Chinese, that is, maternal aunt, paternal aunt, wife of mother's brother, wife of father's brother.&lt;br /&gt;
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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 &amp;quot;菩萨心肠&amp;quot;，which refers to the people with a great kind heart. Cram at the eleventh hour. &amp;quot;菩萨&amp;quot;is Bodhisattvas, who embrace qualities like self-sacrifice and morality. The Image of bodhisattva in Buddhism is different from that of Jesus in Christianity.&lt;br /&gt;
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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,&amp;quot;经得广，知得多&amp;quot;，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.&lt;br /&gt;
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===Domestication and Foreignization Strategies===&lt;br /&gt;
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）&lt;br /&gt;
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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 &amp;quot;exotic&amp;quot; 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 &amp;quot;time is money&amp;quot;, comes from the foreignization of &amp;quot;time is money&amp;quot; in English. Many foreign words have been widely spread and used in Chinese. （Fang Mengzhi 2004: 3）&lt;br /&gt;
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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.&lt;br /&gt;
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===A study on the English Translation of Culture Loaded Words in ''The Spring Festival'' written by Fang Huawen Based on Domestication and Foreignization Strategies===&lt;br /&gt;
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.&lt;br /&gt;
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====Ecological Culture-loaded Words====&lt;br /&gt;
Some words describing nature, environment, animals and plants are called ecological culture-loaded words. In the prose, the author used nature words &amp;quot;火树银花&amp;quot; to describe the scene of the Lantern Festival with bright lights. Literally, &amp;quot;火树&amp;quot; means the fire trees, &amp;quot;银花&amp;quot; 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 &amp;quot;fireworks and laterns were everywhere to be seen&amp;quot;, &amp;quot;火树&amp;quot; refer to the trees are covered with colorful lights, and &amp;quot;银花&amp;quot; refer to brightly lit scene.&lt;br /&gt;
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====Material Culture-loaded Words====&lt;br /&gt;
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.&lt;br /&gt;
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Example 1: &amp;quot;爆竹声中一岁除，春风送暖入屠苏。&amp;quot;&lt;br /&gt;
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Translation: Firecrackers are sending the old year away; People are toasting in warm breeze.&lt;br /&gt;
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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 &amp;quot;Tusu&amp;quot;(屠苏) has great cultural connotation. &amp;quot;Tusu&amp;quot; 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.&lt;br /&gt;
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Example 2: 曾架起一座二十丈的灯山。&lt;br /&gt;
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Translation: ...was built up a mountain of lanterns to celebrate the festival, nearly 70 meters high.&lt;br /&gt;
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In the sentence, &amp;quot;二十丈&amp;quot;, 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.&lt;br /&gt;
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====Social Culture-loaded Words====&lt;br /&gt;
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 &amp;quot;汉武帝&amp;quot; and &amp;quot;唐睿宗&amp;quot; are mentioned. The translator's translation of the ruler is as follows:&lt;br /&gt;
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Example 1：自从汉武帝以来...。&lt;br /&gt;
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Ever since the Emperor Wu's Reign of Han Dynasty.&lt;br /&gt;
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Example 2：唐睿宗时，长安的皇宫外庆贺元宵节&lt;br /&gt;
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During Emperor Ruizong's Reign in Tang Dynasty there just outside the royal palace in Changan.&lt;br /&gt;
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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 &amp;quot;Wu&amp;quot;, 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 &amp;quot;Rui&amp;quot;, which praises his wise. In English translation, the translator uses foreignization to translate the posthumous title &amp;quot;Wu&amp;quot; of Emperor Wu of the Han Dynasty and the temple name &amp;quot;Rui&amp;quot; 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.&lt;br /&gt;
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Example 3: 其外形有&amp;quot;哪吒闹海&amp;quot;&amp;quot;孙悟空&amp;quot;&amp;quot;猪八戒&amp;quot;和&amp;quot;沙僧&amp;quot;。&lt;br /&gt;
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Translation: lanterns in forms of Nazha's Adventure in East Sea, Monkey King, Pigsy, Sha Wujing. &lt;br /&gt;
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The words in historical allusions and legends have great social and cultural connotation. &amp;quot;哪吒闹海&amp;quot;is an ancient Chinese legend.&amp;quot;孙悟空&amp;quot;, &amp;quot;猪八戒&amp;quot; and &amp;quot;沙僧&amp;quot; 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 &amp;quot;孙悟空&amp;quot; into &amp;quot;Na Zha's adventure in the East Sea&amp;quot;, &amp;quot;孙悟空&amp;quot;into the well-known Monkey King, &amp;quot;猪八戒&amp;quot; into Pigsy, and &amp;quot;沙僧&amp;quot; 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).&lt;br /&gt;
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====Regilious Culture-loaded Words====&lt;br /&gt;
Example 1：死后玉皇大帝封他为&amp;quot;斩祟将军&amp;quot;&lt;br /&gt;
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And was appointed &amp;quot;ghost-killler general&amp;quot; by God of all gods after his death.&lt;br /&gt;
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In the translation, the translator uses domestication translation theory to translate &amp;quot;玉皇大帝&amp;quot; into God of All Gods. In Chinese culture, people believe that there are ruler and gods in heaven, and &amp;quot;玉皇大帝&amp;quot; is the leader of the gods in Chinese Taoist mythology. In addition to ruling all gods, &amp;quot;玉皇大帝&amp;quot; also governs the affairs of the universe. People regard &amp;quot;玉皇大帝&amp;quot; as the &amp;quot;emperor&amp;quot; in heaven, the supreme ruler of the world of all gods.&lt;br /&gt;
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. &lt;br /&gt;
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Example 2: 旧岁的最后一天叫&amp;quot;大年三十”，因&amp;quot;除旧岁”而得名除夕。&lt;br /&gt;
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Translation: The last day of the old year, Danianshanshi in Chinese, is called Farewell Day, as the old year is sent away this day.&lt;br /&gt;
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The phrase &amp;quot;旧岁”, &amp;quot;岁”is not only refers to the age, but also means year. &amp;quot;旧岁&amp;quot; refers to the past year. The last day of the year, called &amp;quot;岁除&amp;quot;, and the night of the day is called &amp;quot;除夕&amp;quot;. 除夕, the original meaning of &amp;quot;New Year's Eve&amp;quot;, 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.&lt;br /&gt;
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====Language Culture-loaded Words====&lt;br /&gt;
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 &amp;quot;像箭一般冲出去了&amp;quot;, 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 &amp;quot;离弦之箭&amp;quot; is used to describe high speed.  &amp;quot;离弦之箭&amp;quot; refers to Time flies quikly. But there is no  equivalent like arrow in English. In English, words like &amp;quot;bullet&amp;quot; or &amp;quot;cheetah&amp;quot; or &amp;quot;rocket ship&amp;quot; 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 &amp;quot;dash out&amp;quot;, &amp;quot;dash&amp;quot; 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.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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 &amp;quot;玉皇大帝”into&amp;quot;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 &amp;quot;Danianshanshi&amp;quot;. 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.&lt;br /&gt;
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===References===&lt;br /&gt;
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Nida Eugene(1993). ''Language,culture,and Translating'' [M].Shanghai:Foreign Language Education Press.&lt;br /&gt;
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Shulttleworth, Cowie(1997). ''The Dictionary of Translation Studies'' [M]. St. Jerome Publishing.&lt;br /&gt;
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Venuti, L(1995).''The Transltor’s Invisibility'' [M]. London&amp;amp;Newyork:Routledge.&lt;br /&gt;
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Fang Huawen 方华文(2014). 中外散文诗歌佳作选译与鉴赏 ''Translation and Appreciation of Chinese&amp;amp; Foreign Selected Famous Proses and Poems'' [M]. 合肥：安徽科学技术出版社 Hefei: Anhui Science &amp;amp; Technology Press.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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Written by --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 04:21, 9 December 2021 (UTC)&lt;br /&gt;
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=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 =&lt;br /&gt;
[[Cult_Load_Words_EN_13]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
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.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Culture-loaded words; ''Border Town''; Dai Naidie; Translator behavior criticism&lt;br /&gt;
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===Introduction===&lt;br /&gt;
===1.Introduction of ''Border Town''===&lt;br /&gt;
====1.1 Background of ''Border Town''====&lt;br /&gt;
''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.&lt;br /&gt;
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====1.2 Introduction of the Author Shen Congwen====&lt;br /&gt;
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: &amp;quot;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.&amp;quot; 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.&lt;br /&gt;
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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.&lt;br /&gt;
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Shen Congwen is the main expressor and introspector of the rural world with special significance. He believed that &amp;quot;beauty lies in life&amp;quot;. Although he was in a hypocritical, selfish and indifferent city, he was infatuated with the beauty of human nature. He said, &amp;quot;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.&amp;quot; Therefore, it can be said that the &amp;quot;Greek temple&amp;quot; symbolizes a spiritual space full of human beauty and divine love, which transcends the &amp;quot;secular heart and eyes&amp;quot; and radiates the light of holiness. This &amp;quot;small Greek temple&amp;quot; lived those beautification, by the divinity of the ordinary women, such as Cuicui, Yao Yao, they are beautiful, healthy, vigorous, vibrant, natural harmony, simple nature, they are &amp;quot;the life form of the border city&amp;quot;.&lt;br /&gt;
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===2. Cultural-loaded Words===&lt;br /&gt;
====2.1 Definition of Cultural-loaded Words====&lt;br /&gt;
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.&lt;br /&gt;
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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.&lt;br /&gt;
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====2.2 The Necessity of Cultural-loaded Words Study====&lt;br /&gt;
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.&lt;br /&gt;
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Culture-loaded words usually appear in literary works with ethnic characteristics. The ''Border Town'', Shen Congwen's representative work, is praised as &amp;quot;the purest novel text in the history of modern literature&amp;quot; and &amp;quot;the peak work in the pastoral legend of modern Chinese literature&amp;quot;. 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.&lt;br /&gt;
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===3. Analysis of Translation of Cultural-loaded Words in ''Border Town'':A Case Study of Dai Naidie’s English translation===&lt;br /&gt;
====3.1 The Introduction to Dai Naidie====&lt;br /&gt;
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. &amp;quot;Yang Yixian actually translated the Chinese into English, and I turned it into a narrative antithesis,&amp;quot; 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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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====3.2 Analysis on Cultural-loaded Words====&lt;br /&gt;
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.&lt;br /&gt;
=====3.2.1 Analysis on Ecological Words=====&lt;br /&gt;
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.&lt;br /&gt;
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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.&lt;br /&gt;
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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 &amp;quot;Green Stream&amp;quot;, failing to realize the aesthetic transmission of the original text. In another version of translation, &amp;quot;Green Creek Hill&amp;quot; , it faithfully reproduced the cultural connotation of the word in terms of its content and structure.&lt;br /&gt;
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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 &amp;quot;water&amp;quot;. 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.&lt;br /&gt;
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=====3.2.2 Analysis on Material Words=====&lt;br /&gt;
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 &amp;quot;production of transportation, daily necessities, food, medicine, clothing and measures, etc.&amp;quot;. Taking the border town as an example, the local material culture of Hunan during this period was particularly obvious in China.&lt;br /&gt;
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The word &amp;quot;杜鹃&amp;quot; was textured by Dai Naidie, who translated it into what readers of the target language will know as &amp;quot;Nightingale&amp;quot;. 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.&lt;br /&gt;
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=====3.2.3 Analysis on Social Words=====&lt;br /&gt;
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.&lt;br /&gt;
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“……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 &amp;quot;Che Lu&amp;quot; and “马路” as &amp;quot;Ma Lu&amp;quot; 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.&lt;br /&gt;
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“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 &amp;quot;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.&amp;quot;In this example, the word &amp;quot;妓女&amp;quot; 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 &amp;quot;妓女&amp;quot; in the excerpt as &amp;quot;girl&amp;quot; and &amp;quot;woman&amp;quot; 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.&lt;br /&gt;
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=====3.2.3 Analysis on Religious Words=====&lt;br /&gt;
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.&lt;br /&gt;
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“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 &amp;quot;alienation&amp;quot;. She translated “观音” into &amp;quot;a regular Guan Yin&amp;quot; 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.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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.&lt;br /&gt;
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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 &amp;quot;going out&amp;quot; of Chinese culture.&lt;br /&gt;
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===Reference===&lt;br /&gt;
Dai Naidie translated, Shen Congwen wrote戴乃迭译, 沈从文著. 边城 [M] The Border  Town. 上海: 译林出版社 Shanghai: Yi Lin Press , 2013. 07.&lt;br /&gt;
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Guo Jianzhong郭建中.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, 1998(2):12-19.&lt;br /&gt;
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Guan Xia官霞.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, 2014, (17):139-141.&lt;br /&gt;
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Liu Minxia刘霞敏. 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. 2007 (02): 91-94.&lt;br /&gt;
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Mei Qing梅晴.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,2018,34(10):157-159+162.&lt;br /&gt;
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Qi Qi祁琦.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 &amp;quot;Border City&amp;quot; by Gladys &lt;br /&gt;
Dai and Yang Xianyi.海外英语 Overseas English,2020(09):163-164.&lt;br /&gt;
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Song Jian, Cui Weinan, Luo Shuilian宋健,崔伟男,罗水莲.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,2017(08):24-27.&lt;br /&gt;
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Tian Yi田艺. 译者行为批评视阈下《边城》中文化负载词英译对比研究[D] A Study on the Translation of Culture-loaded Words in Biancheng from the Perspective of Translator Behavior Criticism – Take the Example of Gladys Yang’s and Jeffrey C. Kinkley’s Translation Versions.北京外国语大学 Beijing Foreign Studies University,2019.&lt;br /&gt;
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Yin Lucheng, Liu Rurong尹泸程,刘汝荣.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,2020,20(01):124-128.&lt;br /&gt;
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Zhou Na周娜.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,2021,(42):125-126.&lt;br /&gt;
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=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''=&lt;br /&gt;
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胡舒情 Hu Shuqing, Hunan Normal University, China&lt;br /&gt;
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[[Cult_Load_Words_EN_ 14]]&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
''Treatise on Febrile Caused by Cold'', written by Zhang Zhongjing in the late Eastern Han Dynasty, is one of the &amp;quot;Four Classics&amp;quot; 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.&lt;br /&gt;
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=== Key Words ===&lt;br /&gt;
cultrue-loaded words; Treatise on Febrile Caused by Cold; Tranditional Chinese medicine classics; translation strategies&lt;br /&gt;
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=== 题目 浅谈中医典籍中文化负载词的翻译策略——以《伤寒论》 ===&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
《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。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
文化负载词，《伤寒论》，中医典籍，翻译策略&lt;br /&gt;
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===1. Introduction===&lt;br /&gt;
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.&lt;br /&gt;
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===2. TheDefinition and Classification of Culture-loaded Words in Chinese Medical Classics ===&lt;br /&gt;
====2.1 The Definition====&lt;br /&gt;
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.&lt;br /&gt;
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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 &amp;quot;apple&amp;quot;, &amp;quot;pear&amp;quot; and &amp;quot;fire&amp;quot; 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.&lt;br /&gt;
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====2.2 The Classification====&lt;br /&gt;
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.&lt;br /&gt;
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===3. Translation Strategies Used for Culture-loaded Words in ''Treatise on Febrile Caused by Cold''===&lt;br /&gt;
====3.1 Translation Strategy of Culture-loaded Words of Syndrome====&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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“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 &amp;quot;Qi of Taiyang&amp;quot;, which is obvious on the body surface. This Qi has the function of protecting the body, also known as &amp;quot;Wei-qi&amp;quot;. 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.&lt;br /&gt;
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“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 &amp;quot;Greater&amp;quot; to indicate the prosperity of yang qi to help readers understand the degree of yang.&lt;br /&gt;
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“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 &amp;quot;Lesser&amp;quot; is used to correspond to &amp;quot;少&amp;quot; in the name.&lt;br /&gt;
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“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 &amp;quot;Greater&amp;quot; is similar to that of Yangming.&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
====3.2 Translation Strategy of Culture-loaded Words of Symptom====&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Example 1：阳浮者，热自发；阴弱者，汗自出。&lt;br /&gt;
&lt;br /&gt;
Translation：Floating at the surface signifies Heat weak in depth signifies spontaneous perspiration.&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;热&amp;quot; which refers to heat symptoms caused by an exopathgen as &amp;quot;Heat&amp;quot; or &amp;quot;pathogenic Heat&amp;quot;, and capitalized H to distinguish the &amp;quot;heat&amp;quot; from common heat. &lt;br /&gt;
&lt;br /&gt;
Example 2：鼻鸣干呕&lt;br /&gt;
&lt;br /&gt;
Translation：nauseous and with a tendency to snore&lt;br /&gt;
&lt;br /&gt;
In response to “干呕”, Luo uses the adjective “nauseous” to express &amp;quot;disgusting&amp;quot;. 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.&lt;br /&gt;
&lt;br /&gt;
Example 3：不下利，但呕者&lt;br /&gt;
&lt;br /&gt;
Translation：……not cause diarrhea, but rather cause nausea and vomiting&lt;br /&gt;
&lt;br /&gt;
“下利” refers to having the trots in Chinese medicine. The literal translation of &amp;quot;diarrhea&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
====3.3 Translation Strategy of Culture-loaded Words of Prescription====&lt;br /&gt;
Treatise on Febrile Caused by Cold is the &amp;quot;ancestor of all prescriptions&amp;quot;, 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 &amp;quot;three insurances&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
Example 1：芍药&lt;br /&gt;
&lt;br /&gt;
Translation：Radix Paeoniae&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Example 2：潦水&lt;br /&gt;
&lt;br /&gt;
Translation：rain water&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Example 3：苦酒汤&lt;br /&gt;
&lt;br /&gt;
Translation：decoction of Bitter Wine (Ku Jiu Tang)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;苦酒汤&amp;quot; in Chinese medicine is actually rice vinegar. Luo translates it as &amp;quot;bitter wine&amp;quot;, which means wine with a bitter taste, which is not in line with the original meaning and can be misleading.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
====3.4 Translation Strategy of Culture-loaded Words of Philosophy====&lt;br /&gt;
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 &amp;quot;Yin and Yang&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
Example 1：阴阳自和&lt;br /&gt;
&lt;br /&gt;
Translation：if yin and yang are still in harmony &lt;br /&gt;
&lt;br /&gt;
&amp;quot;阴阳自和&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
Example 2：脉阴阳俱浮&lt;br /&gt;
&lt;br /&gt;
Translation：floating pulse at Yin and Yang&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Example 3：伤寒阴阳易之为病&lt;br /&gt;
&lt;br /&gt;
Translation：Febrile disease caused by Cold with Yin Yang Yi syndrome&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
====3.5 Translation Strategy of Culture-loaded Words of Rhetoric====&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Example 1四肢烦疼：&lt;br /&gt;
&lt;br /&gt;
Translation：the patient feels heavy and painful in the extremities&lt;br /&gt;
&lt;br /&gt;
The &amp;quot;烦&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
Example 2：啬啬恶寒，渐渐恶风，翕翕发热&lt;br /&gt;
&lt;br /&gt;
Translation：The patient feels chill and fears wind, uneasy because of a fever.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
''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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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Hui Jiabei惠佳蓓. 关联理论与《伤寒论》文化负载词英译对比研究：基于两种译本[D]A Comparative Study of Different English Translations of Culture Loaded Words in ''Treatise on Febrile Caused by Cold''  from the Perspective of Relevance Theory: Based on Two Translation Versions.南京中医药大学 Nanjing University of Traditional Chinese Medicine,2011.&lt;br /&gt;
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Jiang Mingde蒋明德,何家武 He Jiawu.《伤寒论》阴阳涵义浅见[J]On the Meaning of Yin and Yang in ''Treatise on Febrile Caused by Cold''.贵阳中医学院学报Journal of Guiyang College of Traditional Chinese Medicine,1992(01):7-8.&lt;br /&gt;
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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.&lt;br /&gt;
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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 &amp;amp; Philosophy,2020,41(02):61-65.&lt;br /&gt;
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Zhang Xuan张璇. 《黄帝内经》文化负载词英译研究[D] Research on the English Translation of Culturally Loaded Words in Huangdi Neijing.南京中医药大学Nanjing University of Traditional Chinese Medicine,2009.&lt;br /&gt;
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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.&lt;br /&gt;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 14:07, 8 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=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''=&lt;br /&gt;
[[Cult_Load_Words_EN_15]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Culture-loaded words; Skopos theory; ''Xi Jinping: The Governance of China&lt;br /&gt;
''&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
====1.1 Research Backgrounds====&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
From my perspective, &amp;quot;five-thousand-year-long history&amp;quot; is a little Chinglish, maybe &amp;quot;five-thousand-year history&amp;quot; is better.--[[User:Yang Ye|Yang Ye]] ([[User talk:Yang Ye|talk]]) 11:58, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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====1.2 Research Significance====&lt;br /&gt;
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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.&lt;br /&gt;
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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?&lt;br /&gt;
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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.&lt;br /&gt;
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===2. Literature Review ===&lt;br /&gt;
====2.1 Culture-loaded Words====&lt;br /&gt;
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Nida proposed the theory of culture-loaded terms translation for the first time in 1945.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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====2.2 The Skopos Theory====&lt;br /&gt;
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.&lt;br /&gt;
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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 &amp;quot;offer of information in a target culture,&amp;quot; which is a result of constructivist comprehension theories.&lt;br /&gt;
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The Skopos Theory states that there are three basic rules.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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====2.3 The Translation Strategies of Culture-loaded Words====&lt;br /&gt;
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Wang Jianguo (2019) identified four limitations in translating culture-loaded words.&lt;br /&gt;
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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.&lt;br /&gt;
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Wang also classified translation strategies into three categories: literal translation, non-literal translation, and translating words with unique cultural information.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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===3. Analysis of Translation of Culture-loaded Words in ''Xi Jinping: The Governance of China''===&lt;br /&gt;
====3.1 Translation Strategy of Social Culture-loaded Words====&lt;br /&gt;
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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.&lt;br /&gt;
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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。&lt;br /&gt;
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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.&lt;br /&gt;
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“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.&lt;br /&gt;
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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.&lt;br /&gt;
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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。&lt;br /&gt;
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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.&lt;br /&gt;
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“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.&lt;br /&gt;
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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.&lt;br /&gt;
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====3.2 Translation Strategy of Material Culture-loaded Words====&lt;br /&gt;
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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.&lt;br /&gt;
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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。&lt;br /&gt;
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TT: Achieving national rejuvenation will be no walk in the park; it will take more than drum beating and gong clanging to get there.&lt;br /&gt;
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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 &amp;quot;drum beating and gong clanging,&amp;quot; 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.&lt;br /&gt;
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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。&lt;br /&gt;
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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.&lt;br /&gt;
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In material culture-loaded terms, the aforementioned Chinese innovations fall under the category of &amp;quot;names.&amp;quot;  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.&lt;br /&gt;
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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.&lt;br /&gt;
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====3.3 Translation Strategy of Linguistic Culture-loaded Words====&lt;br /&gt;
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.&lt;br /&gt;
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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。&lt;br /&gt;
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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.&lt;br /&gt;
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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 &amp;quot;tried every possible means to seek the nation's salvation.&amp;quot; The coherence rule was followed in this case by making the reading process for the target text readers smooth and interrupted.&lt;br /&gt;
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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。&lt;br /&gt;
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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.&lt;br /&gt;
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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&amp;quot;, 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.&lt;br /&gt;
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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.&lt;br /&gt;
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====3.4 Translation Strategy of Ecological Culture-loaded Words====&lt;br /&gt;
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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 &amp;quot;work all day like a donkey&amp;quot; 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. &lt;br /&gt;
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ST: 坚定不移“打虎”、“拍蝇”、“猎狐”&lt;br /&gt;
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TT: We have taken firm action to “take out tigers”, “swat flies”, and “hunt down foxes”.&lt;br /&gt;
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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 &amp;quot;man-eaters,&amp;quot; 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.&lt;br /&gt;
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ST: 深入开展调查研究，解剖麻雀，发现问题。&lt;br /&gt;
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TT: We should conduct in-depth research to identify prominent problems.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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		<author><name>Ding Xuan</name></author>
	</entry>
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