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20211229 homework

2021-12-31T05:01:09Z

Fu Hongyan: /* 付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485 */

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]]

PLEASE READ [[Joint_translation_terms|Joint translation terms]]

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.

==陈静 Chén Jìng 国别女 202020080595==

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”。

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,"I heard that a saint has seven hole in his heart." Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)

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, "I heard that the heart of Bigan.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)

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

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。

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。

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: "Xi Shi frowns (frowns) when she is ill", which increases her beauty.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)

The ancients thought that the more the mind, the smarter it was, so they described Mascara Jade Forest as extremely clever.
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: "Xi Shi frowns (frowns) when she is ill", which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

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。
Therefore, Mascara Jade Forest is described as weak and beautiful by "sick as Xizi wins three points". Next, Precious Jade Merchant wrote "Pingping" 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)

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

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。

“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：

Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as "Jiuda". Later, the big families followed the suit.
The sentence "flower spirit attacks people" is half of a sentence in "Village Residence Book Xi" 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

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.

The sentence "flower spirit attacks people" is half of a sentence in "Book of Happiness Living in Village" 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)

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

“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。”

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)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

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。

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

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。]

Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': "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)

Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': "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)

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

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。

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, "introspection" is an abbreviation of "morning introspection". --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:48, 29 December 2021 (UTC)

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

指子女早晨向父母请安问候的礼节。

第四回薄命女偏逢薄命郎，葫芦僧判断葫芦案

It refers to the politeness children greet their parents in the morning.

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)

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

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。

Mascara Jade Forest,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. Ms. Li had originally been the wife of Bead Merchant.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 05:01, 31 December 2021 (UTC)

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.
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)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

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。

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)

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)

==高蜜 Gāo Mì 翻译学女 202120081487==

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；

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)

When Midfielder Plum became head of the family, however, in the belief that “a woman without talent is virtue,” 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:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:35, 30 December 2021 (UTC)

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

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。
However, the main thing is the textile female red, so the name is Silk Plum, i.e Gongcai . Therefore, although Silk Plum was widowed when she was young and lived in a magnificent state, she did not pay attention to it, her heart was as dead as ashes. She only knew how to serve parents and raise children. In her spare time, she accompanies sister-in-law(husband's side) and others to make needlework and read poetry and books.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 15:48, 30 December 2021 (UTC)

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)

==何芩 Hé Qín 翻译学女 202120081489==

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。

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)

Although Mascara Jade was just living here as a guest, these couins and sisters-in-law accompanied her that she had nothing to scruple, 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 a case of manslaughter on his desk. Two families competed to buy a maid, but neither gave way, resulting in an assault and injury and causing one’s death. He then took the plaintiff to trial.
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:45, 31 December 2021 (UTC)

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

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；

The plaintiff said: "The man killed was my master. He bought a girl that day but unexpectedly she had been stolen by that human trader, who got my master's money. My master thought the next day was a good day then married her;
--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:45, 31 December 2021 (UTC)

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

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。

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)

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)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

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？”

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!" "This is a scandal!" fumed Rainvillage Merchant. "How can men commit a murder and go without punishment?"--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

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

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)

==金晓童 Jīn Xiǎotóng 202120081494==

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？”
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: "the master has been adding officials into the salary, eight or nine years, forget me?"--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)

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: "the master has been adding officials into the salary, eight or nine years, forget me?"--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

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。

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)

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)

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

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。

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)

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)

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

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。

Hastily taking his hand, he smilingly said, "You are, indeed, an old acquaintance!" 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. "Friendships," Rainvillage Merchant remarked, putting on a smiling expression, "contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?" 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)

Hastily taking his hand, he smilingly said, "You are, indeed, an old acquaintance!" and then asked him to take a seat, so as to have a further pleasant chat, but the doorman dared not to sit down. "Friendships," Yue-ts'un remarked, putting on a smiling expression, "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." 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)

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

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’？”

Chia Yu-tsun asked, "Why did you not grant me the passport just now?" The doorman answered that "Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? " Yu-tsun was confused and thus continued, "guard officer?".--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)

Chia Yu-tsun asked, "Why did you not grant me the warrant just now?" The doorman answered that "Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? " Yu-tsun was confused and thus continued, "What's the protection charm?".--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)

==李双 Lǐ Shuāng 翻译学女 202120081499==

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！

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)

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)

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

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。”

“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)
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. "--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)

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

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。
On the one hand, while taking out a copy of the "protection charm" 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)
At the same time, he took out a copy of "protecting official Fu" 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.
--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:36, 29 December 2021 (UTC)

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

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。
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)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

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。
Rainvillage Merchant has not finished reading, suddenly smell spread point, report: "Wang master came to visit." Rainvillage Merchant hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: "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)

Rainvillage Merchant has not finished reading, but suddenly heard from the messenger saying : "Wang master come to visit." Rainvillage Merchant hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: "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)

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

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？

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?" Rain village heard, then smiled and asked Siemens way: "So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)

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?" Rain village heard, then smiled and asked Siemens way: "So say, but how to settle the case?--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:35, 30 December 2021 (UTC)

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

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：

"You probably know where the murderer is hiding? " The doorman smiled and said, "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)

Maybe you know the direction in which the murderer is hiding."The doorman said with a smile: "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

==刘薇 Liú Wēi 国别女 202120081507==

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。

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

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)

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

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。

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)

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)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

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；

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)

Childe Marshgrass then rudely ordered his servants to take action. Feng was beaten up so badly that he died within three days after he was carried home. Childe Marshgrass had intended to go to the capital in a few days. Even though he had beaten Feng and abducted the maid, he acted as if nothing had happened, and simply hit the road with his family. It is not because he wanted to run away.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:49, 30 December 2021 (UTC)

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

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！

Those minor matters concerning people’s lives are taken care of by his brothers and servants. Aside from this, my master, do you know who’s the girl been sold?” Rainvillage Merchant applied: “How am I supposed to know?” The junior clerk sneered: “She helped you a lot in the past, my master!” --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 15:39, 30 December 2021 (UTC)

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?" Yu Cun replyed:"How should I know?" Menzi laughed coldly and said, "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)

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

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。

She is the daughter of Master Truth, nicknamed Pity, who lived by the Gourd Temple." Yu Cun shocked: "So it's her! I heard that she was abducted at five, but why is she being sold recently?" Menzi said:"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)

She is the daughter of Master Truth, nicknamed Pity,who lived by the Gourd Temple." Yu Cun shocked: "So it's her! I heard that she was abducted at five,but why she didn't be sold until recently?"Menzi said:"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 Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 02:24, 31 December 2021 (UTC)

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

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。

We knew this Yinglian very well because we played with him every day, so after seven or eight years,though his appearance has grown more mature，her basic appearance doesn‘t change，so I can recognize her；Moreover，there is an inborn little carmine point between his eyebrows.

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)

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

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。’

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 "I don’t remember what happened when I was a child".--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)

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)

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

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。

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)

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)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

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。

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)

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)

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

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。

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)

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)

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

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。

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)

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)

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

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？

“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)

“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)

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

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。

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)

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)

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

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？

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?" The servant said with a smile, "Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?"--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)

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)

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

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。”

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)

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)

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

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：

Rain Village Merchant says: " 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."The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)

Rain Village Merchant said:" 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." Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)

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

“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。”

“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)

"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."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:11, 30 December 2021 (UTC)

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

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。

Djia Yu-tsun bowed his head for half a day before saying, "What do you think?" Mencius said, "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)

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

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。

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 "violent illness" 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)

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 "violent illness" 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)

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

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：

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)

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)

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

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。

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)

Now Dragon Marshgrass suffered from a nameless disease and died as he was pursued by Feng Yuan's soul. The disaster was caused by the trickster so he would be punished according to the law, not involving others. The villain secretly asked the trickster to tell the truth.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 03:17, 31 December 2021 (UTC)

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

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。

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)

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)

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

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。

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)

What about this plan, Master?" Yu Cun laughed, "No, it's not good. I'll have to think about it again, so that I can convince them." 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)

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

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。
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 Rain village family then bent the law and judged the case haphazardly.

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)

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

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。

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 "nephew has finished, do not have to worry about" words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)

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 "things about your nephew has been finished, do not need to worry about" words to send.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:28, 29 December 2021 (UTC)

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

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。

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)

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

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；

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

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。

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.

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)

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

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。

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)

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)

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

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。

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 .

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)

==颜莉莉 Yán Lìlì 国别女 202120081537==

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。

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.
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)

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)

==颜子涵 Yán Zǐhán 国别女 202120081538==

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。

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)

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)

==阳佳颖 Yáng Jiāyǐng 国别女 20212^0081540==

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。

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)

Ever since the death of Dragon Marshgrass's father， all the managers and employees of the Purveyor's offices in different provinces, perceiving how youthful and inexperienced Dragon Marshgrass was， readily availed themselves of the opportunity to begin swindling. As a result, The business carried on in several different places in the capital gradually began to fall off.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:45, 31 December 2021 (UTC)

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

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。

Dragon Marshgrass, who had long heard that the capital was the most prosperous place, now is planning to pay a visit. Therefore, he decides to take this opportunity to realize his dream. There are three pretexts. First, to accompany his sister there for the selection; secondly, to look for his relatives; and thirdly, to clear his accounts and decide on furture outlay. His real reason, of course, was to see the scenery of the capital. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 31 December 2021 (UTC)

Dragon Marshgrass, who had long heard that the capital was the most prosperous place, now is planning to pay a visit. Therefore, he decides to take this opportunity, firstly, to accompany his sister there for the selection; secondly, to look for his relatives; and thirdly, to clear his accounts and decide on furture outlay. But his real reason, of course, was to admire the scenery of the capital.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:54, 31 December 2021 (UTC)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

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。

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)

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

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。

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)

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)

==叶维杰 Yè Wéijié 国别男 202120081544==

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。”

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:" 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!"

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: " 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. "--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan

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

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？”

So he discussed with his mother, "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." His mother said, "Why do you have to be so flashy? "--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan

So he discussed with his mother, "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, "Why do you have to be so flashy? "--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)

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

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？”

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)

"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?"--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:15, 30 December 2021 (UTC)

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

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。

Dragon Marshgrass said: "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?" His mother answered:" Be that as it may, we can still go to your aunt's husband's house."--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:33, 30 December 2021 (UTC)

Dragon Marshgrass said: "Now that uncle gets promoted to be the leader of another province, it's very common for the household to be bustling about. Wouldn't it be inconsiderate if we all come to visit him at this particular moment?" His mother answered:" Be that as it may, we can still go to your aunt's house."--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 02:47, 31 December 2021 (UTC)

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

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：

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
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)

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

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？”

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

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。
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.

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)

==张扬 Zhāng Yáng 国别男 202120081551==

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。”

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: "concubine brought her brothers and sisters to Beijing and got off outside the door."--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)

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: "concubine brought her brothers and sisters to Beijing and got off outside the door."--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)

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

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。

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)

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)

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

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。

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, "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)

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, "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)

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

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。”

“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)

“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)

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

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。”

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, "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."

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, "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."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)

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

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。

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)
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)

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

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；

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)

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)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

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；

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.

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)

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

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。

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.
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)

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，Dragon Marshgrass has been acquainted with hallf of the sons and nephews in the Jia family. 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)

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

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；
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Dragon Marshgrass, who is seduced, is ten times worse than that day. Although Pardon Merchant 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 Treasure merchant, and he is the eldest grandson of the Ningguo Mansion, now everything is in charge of him.

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)

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

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：

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:
--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 18:20, 29 December 2021 (UTC)

==Nadia 202011080004==

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。

==Mahzad Heydarian 玛莎 202021080004==

日后如何，下回分解。葫芦僧判断葫芦案──
What will happen eventually? The monk in the ground temple will abuse the law.

==Mariam Toure 2020GBJ002301==

“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。

==Rouabah Soumaya 202121080001==

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。

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.

==Muhammad Numan 202121080002==

女子无才便是德──语出明·张岱《公祭祁夫人文》：

==Atta Ur Rahman 202121080003==

“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”

==Muhammad Saqib Mehran 202121080004==

(又见清·石成金《家训钞》引)
Translation: (See also the quote from Shi Chengjin's "Family Instructions")

==Zohaib Chand 202121080005==

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。

==Jawad Ahmad 202121080006==

《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。
English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of

virtuous women in past dynasties to publicize the feudal virtues of women.

==Nizam Uddin 202121080007==

《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。

==Öncü 202121080008==

《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。

"Biographies of Exemplary Women": 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)

==Akira Jantarat 202121080009==

纺绩女红(gōng工)──泛指女子应做的家务活计。

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)

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)

==Benjamin Wellsand 202111080118==

纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。

''Fangji'': "Fang" means to spin silk into yarn, "Ji" means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)

''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)

==Asep Budiman 202111080020==

女红：又作“女工”或“女功”。

Female Red (''gong''): is also known as "female worker" or "female performer". --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)

Female Red: also known as "female worker" or "female performer". --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:56, 29 December 2021 (UTC)Ei Mon Kyaw

==Ei Mon Kyaw 202111080021==

是指纺织、缝纫、刺绣等。

Refers to textiles, sewing, embroidery, etc. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 10:53, 29 December 2021 (UTC)Ei Mon Kyaw

which refers to textiles, sewing, embroidery, etc.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 08:27, 30 December 2021 (UTC)

Introduction to Translation Studies 2021

2021-12-28T08:05:38Z

Fu Hongyan: /* Presentations Dec 29 on East-West Comparison */

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]] | [[20220112_final_exam|final exam page]]

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!

欢迎访问我们“翻译导论课”的网页。…………

=Session 1 Sep 26, 2021=
Today is international day of languages!

Introduction to the course. Organizational things. Working with the Wiki.
==Organizational Things==
*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 "Wang Jianguo1". 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.
*Please prepare each session during the week before, so that you come prepared to class.
*In the WeChat group, please write your name as "Wang Jianguo 王建国 21级英语口译". 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。
*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.
*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.
* Please take the weekly survey http://bit.ly/EU-SURVEY
* Please store the pdf material you get from the teacher. Please prepare the material for each session in advance.

==Edits==
Every student is required to edit something every week. This can be:
* Translate any English paragraph on this website from English to Chinese.
* Correct an earlier translation of your fellow student beneath.
* 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.
* Prepare the final exam paper as early as possible by writing a chapter for a book on "History of Translations", "History of Translation Theories", "Machine translation - A challenge or a chance for human translators?", "Culture loaded words", "The cultural turn in Translation History", "Appropriateness Theory" ... 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.
* 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.

==Topics, Sessions and Material==

'''Which paper or book should I read to prepare my presentation?'''

Please also mention in this list beneath, '''who''' is presenting the topic with '''ppt''' and '''handout'''.

1 Sep 26 Introduction

2 Sep 29 Emergence I
*Teacher presentation

3 Oct 13 Emergence II
*3a Xu, Jun 许钧, Mu Lei 穆雷. "翻译学概论 [Introduction to Translation Studies]." 南京: 译林出版社2009:195 pp., here 180-192.
*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

4 Oct 20 History of Translation
*4a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.
*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.

5 Oct 27 Early understanding

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.

*5a Holmes, James. 1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam: Rodopi, 1988: 67-80.
*5b Sourcebook Lefevere, Andre. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, 1990.
*5c Textbook Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.
*5d Translation Basics 刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.

6 Nov 3 Linguistics and Equivalence (Nida)
*6a Early linguistic theory Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.
*6b Early important understanding Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.

7 Nov 10 Translation Studies
*7a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980.
*7b Translation Studies 许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.
*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)
*7d Categories of Contemporary Western Translation Studies 2002_Pan_Wenguo_潘文国_当代西方的翻译学研究_2002

8 Nov 17 Translation Theories
*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.
*8b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.
*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.
*8d Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003
*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

9 Nov 24 History of Chinese Translation Theories
*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.
*9b 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.

10 Dec 1 Appropriateness Theory
*10a Moratto, Woesler: Current Dynamics, Springer 2021

11 Dec 8 Methods and Style
*11a Methods Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.
*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.
*11c Trans_Stud_Problems_and_Methods_翻译学问题与方法

12 Dec 15 Theory and Practice
*12a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.
*12b Theory and Practice Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.
*12c Theory and Practice Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.

13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism
*13a “descriptive” Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia: John BenjaminB Publishing company, 1995.
*13b Culture Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.
*13c Invisibility Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.
*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.
*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

14 Dec 29 East-West Comparison
*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.
*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.

Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.

*Bassnett, Susan. Translation studies. Routledge, 2013
*Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991
*Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.
*Chen, Fukang. "Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory)." (1992).
*Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.
*Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.
*Huang, Chending黄振定. "文学翻译评价的科学性及其科学论." 外国语 4 (1999): 49-56.
*Huang, Chending 黄振定. "翻译学是一门人文科学." 外语与外语教学 2 (1999): 33-35.
*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
*Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.
*Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013
*Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.
*Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.
*Pan Wenguo 潘文国. "当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题." 中国翻译 23.1 (2002): 31-34.
*Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017
*Toury, Gideon. "Descriptive Translation Studies–and beyond John Benjamins Publishing Company." Amsterdam/Philadelphia (1995).
*Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.
*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).
*Xu, Jun 许钧, Mu Lei 穆雷. "翻译学概论 [Introduction to Translation Studies]." 南京: 译林出版社 10 (2009): 180-192.
*Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003
*Zhao, Wei 赵巍. "翻译学学科性质与研究方法反思." 解放军外国语学院学报 28.6 (2005): 69-72.

(We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)

==Final exam class projects==

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):
*[[History of Translation Studies]] (Sample from last year.)
*[[History of Translations]]
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)
*[[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
*[[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
*[[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
*[[The cultural turn]] in Translation History 金晓童李爱璇李文璇黄锦云李姗黄逸妍
*[[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）
*[[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）
*[[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)
*[[Translation Theories Apllied to Literary Translations]] 周巧付红岩詹若萱（Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory）
*[[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

(We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)

==Schedule==
Please add your name, presentation form (ppt, handout) and subtopic here.

'''All sessions''':
*1 Sep 26 Introduction
*2 Sep 29 Emergence I
*3 Oct 13 Emergence II
(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.

(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.

*4 Oct 20 History of Translation
(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.

(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.

(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.

(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.

(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.

*5 Oct 27 Early understanding
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.

(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.

(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.

*6 Nov 3 Linguistics and Equivalence (Nida) 

(J.C.Catford's Translation Equivalence Theory) ppt by Huang Yiyan 黄逸妍 and handout by Huang Jinyun 黄锦云.

(Two Types of Equivalence by Eugene A. Nida) ppt by Du Lina 杜莉娜 and handout by Ma Xin 马新.

(The Three Essences of Functional Equivalence and Its Application) ppt by Yi Yangfan 易扬帆 and handout by Yin Yuan 尹媛.

(Eugene Nida's Principles of Correspondence Theory) ppt by Chen Huini 陈慧妮 and handout by Cai Zhufeng 蔡珠凤.

*6 Nov 10 Translation Studies
(The Name and Nature of Translation Studies)ppt by Liu Shengnan刘胜楠; handout by Li Yi李怡

(Five Approaches to Translation)ppt by Li Wenxuan李文璇; handout by Li Shan 李姗

(Principles of Translation)ppt by Xiao Yiyao肖毅瑶; handout by Wu Yinghong吴映红

(Cultural and Ideological Approaches in Translation)ppt by Mahzad Heydarian; handout by Mahzad Heydarian

(Roman Jacobson's Categories of Translation)ppt by Xiong Min熊敏; handout by Sun Yashi孙雅诗

(Lin Yutang' s Translation Aesthetics )ppt by Luo Anyi罗安怡; handout by Shi Liqing石丽青

*8 Nov 17 Translation Theories
(Translation Theories of George Steiner)ppt by Yang Liuqing 杨柳青; handout by Yin Huizhen 殷慧珍

(The Functional Translation Theory of Reiss, Vermeer and Nord)ppt by Peng Ruixue 彭瑞雪;handout by Qin Jianan 秦建安.

(Translation Theories of Peter Newmark) ppt by Liu Xiao 刘晓; handout by Liu Yue 刘越.

(Yan Fu's Translation Thoughts)ppt by Wang Lifei 王李菲; handout by Wei Chuxuan 魏楚璇

(Translation theorie of Xu Yuanchong) ppt by Zhouqing周清; handout by Zou Yueli邹岳丽.

*9 Nov 24 History of Chinese Translation Theories
(The History of Chinese Translation Theories in Qing Dynasty)ppt by Cheng Yang 程杨 and handout by Li Shuang 李双.

(The History of Chinese Buddhist Translation Theories)ppt by Qiu Tingting邱婷婷; handout by Wei Yiwen 卫怡雯

(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

(The History of Chinese Translation Theories from 1949 to Present)ppt by Yang Aijiang 杨爱江; handout by Yang Kun 杨堃

*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.

(Appropriateness Theory) ppt by Yin Meida殷美达 and handout by Ei Mon Kyaw 艾梦觉

*11 Dec 8 Methods and Style
(The Literal Translation and Free Translation)ppt by Zhong Yifei钟义菲; handout by Zhong Yulu钟雨露.

(The Amplification and Omission in Translation)ppt by Zhou Jiu周玖; handout by Zhou Junhui周俊辉.

(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.

(Translation Methods of Idioms)ppt by Liu Yunxin 刘运心; handout by Li Ruiyang 李瑞洋

(Domestication and Foreignization)pptx by Chen Jing 陈静; handout by Chen Xinyi 陈心怡

*12 Dec 15 Theory and Practice.
(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
(Catford's Translation Shift Theory and its practice)ppt by 周巧and handout by 朱素珍
(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
(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
() Skopos Theory and its Application ppt by 刘沛婷 and handout by 李新星

*13 Dec 22 Decriptive Studies, Culture, Invisibility, Constructivism
() ppt by 殷美达 and handout by 张怡然

*14 Dec 29 East-West Comparison
()ppt by刘薇 and handout by黄柱梁
()ppt by魏兆妍 and handout by 吴婧悦
()ppt by阳佳颖 and handout by 颜子涵
(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

== Homework from Session 1 Sep 26 due on Sep 29, 2021 ==

1. Take the survey after session 1: http://bit.ly/EU-SURVEY

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.)

3. Every student should translate 1 sentence. Here is the [[20210929_homework|homework page]]. - IN PREPARATION...

*[[20210929_homework|homework of session 1 for session 2 Sep 29]]

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]].

*[[20210929_homework|homework of session 1 for session 2 Sep 29]]

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!

===Homework for later===
4. Write a final exam paper as a chapter of the book "Translation Studies", ... 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.

5. Get familiar with the pdfs I send you on WeChat group as learning material.

=Session 2, Sep 29: Emergence I=
*Teacher presentation
*Survey http://bit.ly/Eval-01
*Please select a topic to do a ppt or handout on
*Review homework
*Prepare final exam

===Homework for this session Sep 29===
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 2 (Emergence I)

2. Translate your passage on the homework page.

*[[20210929_homework|homework of session 1 for session 2 Sep 29]]

3. Correct your fellow student's translation on the homework page.

==Session 2, Sep 29, Topic 1: Emergence I - Emergence in China==
*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)

==Homework for next session Oct 13==

1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)

2. Translate your passage on the homework page.

*[[20211013_homework|homework of session 2 for session 3 Oct 13]]

3. Correct your fellow student's translation on the homework page.

*[[20211013_homework|homework of session 2 for session 3 Oct 13]]

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.

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.

=Session 3, Oct 13, Topic 2: Emergence II - Emergence in China=
==Homework for this session Oct 13==

1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)

2. Translate your passage on the homework page.

*[[20211013_homework|homework of session 2 for session 3 Oct 13]]

3. Correct your fellow student's translation on the homework page.

*[[20211013_homework|homework of session 2 for session 3 Oct 13]]

4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.

==Presentations in Session 3, Emergence of Translation II==

*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

Tip: Since the topics are sorted roughly chronologically, this topic should be the emergence of translation rather than emergence of translation studies.

*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

Tip: This topic is also very modern, it should be presented at the end of the semester.

==Homework for next session Oct 20==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 3 (Emergence II)

2. Translate your passage on the homework page.

*[[20211020_homework|homework of session 3 for session 4 Oct 20]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Oct 13:) Prepare ppt or handout.

=Session 4, Oct 20, Topic 3=
==Homework for this session Oct 20==

1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 4

2. Translate your passage on the homework page.

*[[20211020_homework|homework of session 3 for session 4 Oct 20]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Oct 20:) Prepare ppt or handout.

==Presentations on History of Translation, session 4==
* 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
*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
* 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
* 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
* 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

==Homework for next session Oct 27==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 5

2. Translate your passage on the homework page.

*[[20211027_homework|homework of session 4 for session 5 Oct 27]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.

=Session 5, Oct 27, Topic 4 Early Understanding of Translation (no elaborated theories yet)=
==Homework for this session Oct 27==

1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 5

2. Translate your passage on the homework page.

*[[20211027_homework|homework of session 4 for session 5 Oct 27]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Oct 27:) Prepare ppt or handout.

==Presentations Oct 27 on Early Understanding==

* Teacher presentation: [[Media:05_Transl_Studies_Emergence2_History.pptx|Powerpoint for the Sessions 3-5 by Martin Woesler, please download from this link]]

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.

* 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
* 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

==Homework for next session 6, Nov 3==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 6

2. Translate your passage on the homework page.

*[[20211103_homework|homework of session 5 for session 6, Nov 3]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.

=Session 6, Nov 3, Topic 5 Translation Equivalence, Nida and Linguistics=
==Homework for this session Nov 3==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 6

2. Translate your passage on the homework page.

*[[20211103_homework|homework of session 5 for session 6 Nov 3]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.

==Presentations Nov 3 on Linguistics and Equivalence(Nida)==

* 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
* 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
* 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
* 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

==Homework for next session 7, Nov 10==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 7

2. Translate your passage on the homework page.

*[[20211110_homework|homework of session 6 for session 7, Nov 10]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Nov 10:) Prepare ppt or handout.

5. WRITE A DRAFT OF YOUR FINAL EXAM PAPER!
*[[20220112_final_exam|Final Exam paper page]]

=Session 7, Nov 10, Topic 6 Translation Studies=
==Homework for this session Nov 10==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 7

2. Translate your passage on the homework page.

*[[20211110_homework|homework of session 6 for session 7 Nov 10]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Nov 3:) Prepare ppt or handout.

==Presentations Nov 10 on Translation Studies==

* 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

* 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

* 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

* 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

* 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

* 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

==Homework for next session 8, Nov 17==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 8

2. Translate your passage on the homework page.

*[[20211117_homework|homework of session 6 for session 8, Nov 17]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.

=Session 8, Nov 17, Translation Theories =
==Homework for this session Nov 17==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 8

2. Translate your passage on the homework page.

*[[20211117_homework|homework of session 7 for session 8, Nov 17]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Nov 17:) Prepare ppt or handout.

==Presentations Nov 17 on Translation Theories==
* 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
* 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.
* 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.

* 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
* 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.

==Homework for next session 9, Nov 24==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 9

2. Translate your passage on the homework page.

*[[20211124_homework|homework of session 8 for session 9, Nov 24]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.

=Session 9, Nov 24, History of Chinese Translation Theories =

==Homework for this session Nov 24==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 9

2. Translate your passage on the homework page.

*[[20211124_homework|homework of session 8 for session 9, Nov 24]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Nov 24:) Prepare ppt or handout.

==Presentations Nov 24 on Chinese Translation Theories ==
* 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.
* 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
* 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
* 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

==Homework for next session 10, Dec 1==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 10

2. Translate your passage on the homework page.

*[[20211201_homework|homework of session 9 for session 10, Dec 1]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.

=Session 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.

==Homework for this session Dec 1==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 10

2. Translate your passage on the homework page.

*[[20211201_homework|homework of session 9 for session 10, Dec 1]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 1:) Prepare ppt or handout.

==Presentations Dec 1==
* handout 1: [[Media: Appropriateness Theory.docx| Appropriateness Theory]] by Ei Mon Kyaw 艾梦觉;ppt 1: [[Media:Appropriateness Theory(ppt).pptx|Appropriateness Theory(ppt)]] by Yin Meida殷美达;

*Teacher presentation [[Media:10_Translation_Studies_Discipline.pptx|10_Translation_Studies_Discipline.pptx]]
*Teacher presentation [[Media:Appropriateness_Theory_Teacher_Presentation.pptx|Appropriateness_Theory_Teacher_Presentation.pptx]]

==Homework for next session 11, Dec 8==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 11

2. Translate your passage on the homework page.

*[[20211208_homework|homework of session 10 for session 11, Dec 8]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.

=Session 11, Dec 8, Methods and Style=
==Homework for this session Dec 8==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 11

2. Translate your passage on the homework page.

*[[20211208_homework|homework of session 10 for session 11, Dec 8]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 8:) Prepare ppt or handout.

==Presentations Dec 8 on Methods and Style==
* 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.
* 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.
* 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.
* 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
* 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
*Teacher presentation [[Media:11_Translation_Studies_Discipline.pptx|11_Translation_Studies_Discipline.pptx]]

[[File:Translation Methods of Idioms.pptx]]

==Homework for next session 12, Dec 15==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 12

2. Translate your passage on the homework page.

*[[20211215_homework|homework of session 11 for session 12, Dec 15]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.

=Session 12, Dec 15, Theory and Practice.=

==Homework for this session Dec 15==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 12

2. Translate your passage on the homework page.

*[[20211215_homework|homework of session 11 for session 12, Dec 15]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 15:) Prepare ppt or handout.

==Presentations Dec 15 on Theory and Practice==
* 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:Catford Translation Shift Theory and Its Practice.docx|Catford Translation Shift Theory and Its Practice]] by Zhu Suzhen 朱素珍.

* ppt 2: [[Media: The value and limits of Nida’s Functional Equivalence Theory in its Application of Literature(ppt).pptx| The value and limits of Nida’s Functional Equivalence Theory in its Application of Literature（ppt）]] by Zhan Ruoxuan 詹若萱;handout [[Media:The value and limits of Nida’s Functional Equivalence Theory in its Application of Literature.docx|The value and limits of Nida’s Functional Equivalence Theory in its Application of Literature]] by Luo Xi 罗曦.

* 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.

* ppt 4：[[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.

==Homework for next session 13, Dec 22==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 13

2. Translate your passage on the homework page.

*[[20211222_homework|homework of session 12 for session 13, Dec 22]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.

=Session 13, Dec 22, Descriptive Studies, Culture, Invisibility, Constructivism=

==Homework for this session Dec 22==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 13

2. Translate your passage on the homework page.

*[[20211222_homework|homework of session 12 for session 13, Dec 22]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 22:) Prepare ppt or handout.

==Presentations Dec 22 on Decriptive Studies, Culture, Invisibility, Constructivism==

* ppt 1: [[Media:Gideon Toury's Descriptive Translation Studies(ppt).pptx|Gideon Toury's Descriptive Translation Studies(ppt)]]ppt by Benjamin Wellsand; handout [[Media:Gideon Toury's Descriptive Translation Studies.docx|Gideon Toury's Descriptive Translation Studies]] by Bi bi Nadia.

* ppt 2: [[Media:Gideon Toury's Descriptive Study of Norms in Translation Presentation(ppt).pptx|Gideon Toury's Descriptive Study of Norms in Translation Presentation(ppt)]]ppt by Rouabah Soumaya; handout [[Media:.docx|.docx]] by Bi bi Nadia.

* ppt 3: [[Media:Presentation on Cultural Aspects of Translation Studies(ppt).pptx|Presentation on Cultural Aspects of Translation Studies(ppt)]]ppt by Zhang Yiran 张怡然; handout [[Media:Presentation on Cultural Aspects of Translation Studies.docx|Presentation on Cultural Aspects of Translation Studies]] by Atta Ur Rahman.

* ppt 4: [[Media:Revisiting Newmark’s Theory of Translation(ppt).pptx|Revisiting Newmark’s Theory of Translation(ppt)]] by Asep Budiman; [[Media: The Appropriateness Theory.docx| The Appropriateness Theory]] by Asep Budiman

==Homework for next session 14, Dec 29==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 14

2. Translate your passage on the homework page.

*[[20211229_homework|homework of session 13 for session 14, Dec 29]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.

=Session 14, Dec 29, East-West Comparison=

==Homework for this session Dec 29==
1. Read the [[Introduction_to_Translation_Studies_2021#Topics.2C_Sessions_and_Material|literature]] for Session 14

2. Translate your passage on the homework page.

*[[20211229_homework|homework of session 13 for session 14, Dec 29]]

3. Correct your fellow student's translation on the homework page.

4. (Only for students who do presentation on Dec 29:) Prepare ppt or handout.

==Presentations Dec 29 on East-West Comparison==
*ppt 1: [[Media: A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy(PPT).mp4|A Comparison of Venuti's and Lu Xun's Foreignization Translation Strategy(PPT).mp4]] 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.

*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

*ppt 3: [[Media:Hypotactic and Paratactic(ppt).pptx|Hypotactic and Paratactic(ppt)]]ppt by Liu Wei 刘薇; [[Media:Hypotactic and Paratactic.docx|Hypotactic and Paratactic]]handout by Huang Zhuliang黄柱梁.

*ppt 4: [[Media:Comparison of Wstern and Estern Translation Standard(ppt).pptx|Comparison of Wstern and Estern Translation Standard(ppt)]]ppt by Kuang Yanli 邝艳丽; [[Media:Comparison of Translation Standards Between East and West.docx|Comparison of Translation Standards Between East and West]]handout by Akira Jantarat.

*ppt 4: [A comparison of Chinese and English.[(ppt).pptx|A comparison of Chinese and English(ppt)]]ppt by Fu Hongyan 付红岩; [[Media:A comparison of Chinese and English.docx|A comparison of Chinese and English]]handout by Li Xinxing 李心星.

=Samples from last year: 人类起源 The emergence of translation and interpretation=
Please note: All the sessions (2-16) here are copies of the 2020 course.

You can have a look how the fellow students did it last year,

but you have to write everything new here for 2021.

*Teacher presentation

*Student presentations

OLD (2020):

*Handout for download [[Media:The_emergence_of_translation_and_interpretation.docx|Global Emergence of Interpretation and Translation]] by 彭锐宏
*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)

===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===
*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
*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

===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===
*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
*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

===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===
*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
*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

===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===
1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].

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]].

==3rd Session: History==

===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===
*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)
*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)

===Session 3, Topic 2: 中国翻译史代表人物The Representatives in Chinese Translation History===
*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)
*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)

===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===
*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
*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

===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===
*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)
*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

==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===

1. Every student should translate 1 sentence of the Introduction of the Book "Translation Studies". Here is the '''[[20201005_trans|homework page]]'''.

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]].

==Session 4: Development==

===Session 4, Topic 1: 西方翻译史 Western translation history===
*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)
*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)

===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===
*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)
*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)

===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===
*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
* 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

===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===
*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)
*Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)

===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===
*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)
*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)

===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===
*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)
*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)

===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===
*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)
*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)

===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===
*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)
*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)

==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===

1. Every student should translate a short passage of a paper on the Chinese essay. Here is the '''[[20201012_trans|homework page]]'''.

2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].

3. Take part in an online survey. The survey is currently prepared by the fellow students.

==Session 5: ==

===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===
*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
*Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei

===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===
*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)

[[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)

===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===
*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
*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

Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.

===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===
*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)
*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

===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===
*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)
*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)

===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===
*Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)
*Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)

==Session 6: Early Theories==

==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===

1. Every student should translate 1 sentence of the Introduction of the Book "Translation Studies". Here is the '''[[20201019_trans|homework page]]'''.

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]].

===Session 6, Topic 1: 巴斯奈特文化翻译观 The Cultural Translation Theory of Bassnett===

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)

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

===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===

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)

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)

===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===

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

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

===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===

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)

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)

===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===
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)

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)

===Session 6, Topic 6: 系统翻译理论的早期尝试 Early Attempts at Systematic Translation Theory===

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)

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)

==Session 7: Western theories==. 周巧 presentation PowerPoint 朱素珍 handout Cat ford Translation Shift Theory

===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===

1. Every student should translate 1 sentence of the Introduction of the Book "Translation Studies". Here is the '''[[20201026_trans|homework page]]'''.

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]].

===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===

Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]

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)

===Session 7, Topic 2: 多元系统理论 Polysystem Theory===

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)

Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)

===Session 7, Topic 3：后殖民主义翻译理论 Post-colonial Translation Theory===

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)

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)

===Session 7, Topic 4：布拉格学派 Prague School===

Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)

Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)

===Session 7, Topic 5：目的论 Skopos Theory===

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

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

===Session 7, Topic 6：语言学派 Linguistic School===

Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)

Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)

==Session 8: Methods==

===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===

1. Every student should translate 1 sentence of the Introduction of the Book "Translation Studies". Here is the '''[[20201102_trans|homework page]]'''.

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]].

===Session 8, Topic 1：正说反译与反说正译 Negation===
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)

Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)

===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===
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)

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)

===Session 8, Topic 3：交际翻译与语义翻译 Communicative Translation and Semantic Translation===
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)

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)

===Session 8, Topic 4：直译与意译 Literal Translation and Free translation===
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)
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)

===Session 8, Topic 5：增译与减译 Amplification and Omission===
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)

Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing

===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===
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)
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)

==Session 9: Style==

===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===

1. Every student should translate 1 sentence from the essay. Here is the '''[[20201116_trans|homework page]]'''.

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]].

===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation===

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)

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)

===Session 9, Topic2 : 科技翻译 Scientific Style===

Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)

Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)

===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles===

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)

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)

===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===
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)

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)

===Session 9,Topic 5: 翻译与风格 Translation and Style= ==
Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang

Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu

[[Media:Example.ogg]]

==Session 10: Translation Studies==

===Homework from Session 9 (Nov 16, 2020), for Session 10 due on (Nov 23, 2020)===

1. Every student should translate 1 sentence from the essay. Here is the '''[[20201123_trans|homework page]]'''.

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]].

===Session 10,Topic 1: 翻译转换 Translation Shifts===
Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)

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)

===Session 10,Topic 2: 解码和重新编码 Decoding and Recoding===
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)

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)

===Session 10,Topic 3: 视听翻译 Audiovisual Translation===
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

Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)

===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===
[[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)

[[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)

===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&E) and its Translation Strategies===
Classroom presentation for download:[[Media:Contrastive Studies of Passive Voice(C&E) and its Translation Strategies.pptx]] --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:20, 23 November 2020 (UTC)

Classroom handout for download：[[Media:Contrastive Studies of Passive Voice(C&E) and its Translation Strategies.docx]]--[[User:Blank|Zhang Hu]] ([[User talk:Zhang Hu|talk]]) 10:23, 23 November 2020 (UTC)

===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies====

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)

Classroom presentation for download:[[Media:Untranslatability & Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)

==Session 11: Theory and Practice==

===Homework from Session 10 (Nov 23, 2020), for Session 11 due on (Nov 30, 2020)===

1. Every student should translate 1 sentence from the essay. Here is the '''[[20201130_trans|homework page]]'''.

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]].

===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===

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

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)

===Session 11,Topic 2: 归化和异化在翻译中的实践 Translation practice in domestication and foreignization===

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

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

===Session 11,Topic 3: 目的论及其应用 Skopos Theory and its Applications===

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)

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)

===Session 11,Topic 4:语义翻译与交际翻译 The Semantic Translation and Communicative Translation===

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)

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)

===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===

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)

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)

===Session 11,Topic 6:女性主义翻译 The Feminist Translation===

Handout for download：[[Media:Feminist Translation.doc]]--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 08:07, 30 November 2020 (UTC)

Classroom presentation：[[Media:Feminist Translation.pptx]]

==Session 12: Different Aspects==

===Homework from Session 11 (Nov 30, 2020), for Session 12 due on (Dec 7, 2020)===

1. Every student should translate 1 sentence from the essay. Here is the '''[[20201207_trans|homework page]]'''.

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]].

===Session 12, Topic 1: 政论文翻译 Translation of Political Text===

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)

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)

===Session 12, Topic 2: 诗歌翻译 Poem Translation===
Classroom handout for download:[[Media:Poem Translation.pptx]]--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 14:59, 6 December 2020 (UTC)

[[Media:Poem_Translation_handout.docx]] by Zhang Yujie& Yang Hairong--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:14, 7 December 2020 (UTC)

===Session 12, Topic 3: 旅游翻译 Tourism Translation===
Classroom handout for download:[[Media:Tourism Translation.pptx]] by Tan Xinjie & Wei Yafei --[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:53, 5 December 2020 (UTC)Weiyafei

[[Media:Tourism_Translation_handout.docx]] by Tan Xinjie & Wei Yafei--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 10:06, 5 December 2020 (UTC)Wei Yafei

==Session 13: East West comparison==

===Homework from Session 12 (Nov 30, 2020), for Session 13 due on (Dec 14, 2020)===

1. Every student should translate 1 sentence from the essay. Here is the '''[[20201214_trans|homework page]]'''.

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]].

===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===
[[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
[[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

===Topic 2:中西翻译发展比较Comparison of the Development of Chinese and Western Translation===

[[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)

[[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)

===Topic 3:中西文化差异对翻译的影响The Influence of Chinese and Western Cultural Differences on Translation===
[[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)
[[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)

===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===
[[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

[[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

===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===

[[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

[[Media:Handout of comparison of Chinese and Western translation theories since the mid-term of the 20th century by Yuan Tianyi.doc]]

===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===

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)

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)

==Session 14: Strategies==
===Homework from Session 13 (Dec 14, 2020), for Session 14 due on (Dec 21, 2020)===

1. Every student should translate 1 sentence from the essay. Here is the '''[[20201221_trans|homework page]]'''.

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]].

===Topic 1；阿拉伯大征服时代与翻译学 The Era of Arab Conquest and Translatology===

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)

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)

===Topic 2；韦努蒂的抵抗式翻译策略 Resistancy Translation Strategy—Lawrence Venuti===

Classroom handout for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.docx]] Tang Yiran&Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC)

Classroom presentation for download: [[Media:Resistancy Translation Strategy—Lawrence Venuti.ppt]] Tang Yiran&Yang Ziling --[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:34, 20 December 2020 (UTC)

===Topic 3；英日译本对照--以《雪国》为例The Contrast of Japanese-English Translation--Taking "Snow Country" as an Example===

Classroom handout for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi& Peng Yongliang.docx]]
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)

Classroom presentation for download: [[Media:The Contrast of Differences in Japanese-English Xie Ziyi& Peng Yongliang.pptx]]
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:48, 21 December 2020 (UTC)

==Session 15: Contemporary Translation Theories==

===Homework from Session 14 (Dec 21, 2020), for Session 15 due on (Dec 28, 2020)===

1. Every student should translate 1 sentence from the essay. Here is the '''[[20201228_trans|homework page]]'''.

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]].

===Topic 1 Contemporary Translation Theories ===

Classroom handout for download: [[Media:Contemporary Translation Theories.docx]]

Classroom presentation for download: [[Media:Contemporary Translation Theories.pptx]]
--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:07, 27 December 2020 (UTC)

==Session 16: Final Discussion==

==List of topics for presentations and handouts in class==
1 Emergence:
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

2 History:
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

3 Development:
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

4 Early Literary Examples:
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

5 Early Theories:
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

6 (Western) Theories:
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

7 Methods:
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

8 Style:
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

9 Translation Studies:
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

10 Theory and Practice:
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;

11 Different Aspects:
周艺文陈佳欣; 谭鑫洁魏亚菲; 张毓婕杨海容;

12 East West Comparison:
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。

13 Strategies:
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

14 Contemporary translation Theories:
Sagara Seydo Nguyen, Thuy Hien (Helen)

==List of Topics for final exam papers in Translation Studies==

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%。

Ideas
*literal vs. free
*Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization
*unit of translation
*contrastive analysis
*the equivalence problem (functional, dynamic)
*translatability vs untranslatability
*SLT vs TLT relation
*translation types, strategies, styles, methods
*communication factors, translator role in social setting
*cognitive factors
*machine translation
*translation quality assessment
*translation ethics / manipulation etc.

Suggested topics for final exam papers (chapters of book on translation studies)

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.

Here is the link to the list: [[Topics in Translation Studies]]

=Final Exam Papers=
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!
==Structure==
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。

==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*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 "References". 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.
*Do '''not''' write any references like in one of the sample chapters:

[1] dsalkfkdsa

[2] adsfadsfag

But only the following way:

(Liu Miqing 2010, 17) in the text

and then

'''References'''
*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.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

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):
= = Topic = =
< c e n t e r > Student Name, Student no. < / c e n t e r >
= = = Abstract = = =
This chapter is on ....
= = = Key Words = = =
Egg, Hen
= = = 题目 = = =
= = = 摘要 = = =
= = = 关键词 = = =
= = = Introduction = = =
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''.
= = = The Egg = = =
Bla, bla, bla
= = = The Hen = = =
Bla, bla, bla
= = = Conclusion = = =
Bla, bla, bla
= = = References = = =
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

==Sample papers==
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with "Sample paper".
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications
* Comparative Study on Functional Equivalence Theory and Skopos Theroy
* Comparison of Derrida’s and Benjamin’s Translation View
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish
* On the Comparison between "Sublimation" an "Functonal Equivalence" Theories
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics
* The Translation of Culture-loaded Words in Chinese-English Communication
* Translators' Views on Translation Influence Their Translation Behavior

==Website to write your final exam paper on==
[[20220112_final_exam|final exam page]]

As a reference, here is the information about last year's final exam papers:

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).

Here you can write your Final Exam Papers:

*[https://bou.de/u/wiki/History_of_Translation_Studies_1 Part 1, (samples)]
*[https://bou.de/u/wiki/History_of_Translation_Studies_2 Part 2, (samples)]
*[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]
*[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]
*[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]
*[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]
*[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]
*[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]
*[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]
*[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]
*[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]
*[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]
*[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]
*[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]

=Benefits=
This course is registered as a "EU Expert" diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.

=Misplaced things=
Handout 4 of Ren Xin --
贺骥.“世界文学”概念:维兰德首创：
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。

一、为何说维兰德首创“世界文学”？
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
二、维兰德“世界文学”的概念与歌德的比较
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。
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。
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”。

三、“世界文学”概念有三种定义:
( 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) ;
( 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;
( 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。

Reference:
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)

[1]文飙.阿拉伯民间文学的珍品《一千零一夜》.
1.流传情况：
《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。
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。
3.《一千零一夜》，中文另一译名为《天方夜谭( 谈) 》的原因：
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。
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。
5.《一千零一夜》的起源：
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。
6.影响：
《一千零一夜》在世界各国广为传播。
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。
在我国，早在六十多年以前就有了《一千零一夜》的译本。

[2]冯辉.略论《一千零一夜》对世界文学的借鉴与影响.
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。
一、流传情况：
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。
2.流传情况：
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。
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。
二、《一千零一夜》对古希腊荷马史诗巨人故事的借鉴
《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。
三、《一千零一夜》对世界文学的影响：
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
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。
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。
《一千零一夜》：
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。
《哈姆雷特》：第五幕第一场墓地对话中
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。”
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。
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
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。
1)不同点：
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。
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；
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。
2)相似点：
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。
3.对中国作家的影响
《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,
四、小结
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。

[3]陆英英.《一千零一夜》在欧洲.
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。
1.法国译本：
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
B.1828年法国出版特雷布梯的译本 —— 增加情节，接近原版
C.1969年出版了勒内赫瓦姆的《一千零一夜》译本 —— 忠于原作
2.英国译本（几乎都是从法国译本转译而来）：
A.1811年乔纳森·斯科特出版的译本 —— 最突出
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
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
D.1885年，理查德·伯顿的译本出版 —— 最完备的译本
E.英国军官伯顿（会讲阿拉伯语）—— 强烈殖民主义色彩
3.德国译本：
A.第一个把《一千零一夜》译成德文的是东方学家冯哈曼尔。
B.1837-1841年之间出现了凡勒的德译本 ——忠实原文，生涩
C.东方学家莱塔马教授 —— 德国最著名的译本
4.罗马尼亚译本：
A.1771年，出版的《哈伦·拉希德的故事》——罗马尼亚最早
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
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
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》
5.俄文译本：
A.萨利尔译的，东方学家卡利姆斯基出版的。
B.高尔基于1904年也译过。
C.列夫·托尔斯泰也译过几篇，如《皇帝和衬衣的故事》等。
6.捷克译本：
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。
7.波兰译本：
1774年出版了第一本——《阿拉伯传奇或一千零一夜》
8.威尼斯译本：
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》。
9.希腊译本：
译者为布利兹威斯，译本分三卷。
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。
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。

参考文献：
[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.
[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.
[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)

[1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192.

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。
1.佛经翻译
A.四个时期：
a. 创立时期（东汉末年到西晋），代表人物有安世高和支谦；
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；
c.鼎盛时期（唐朝），代表人物为玄奘、不空；
d.逐渐结束于北宋。
B.翻译形式
最初由西域僧人的梵语口授，再找汉人加以润饰。音译。
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。
C.翻译大家
三藏法师，从数量和翻译成就都无人能比。直译&意译结合。
2.圣经翻译
A.概况
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。
B.流传形式：手写本。
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》。
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。
优点：此译本特别完整准确地还原了圣经原籍的内容。
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。
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。
3.佛经翻译和圣经翻译的相似性：
经历了直译—意译—直意译结合的过程。
A.最初翻译时，中西译者都是逐字逐句的直译。
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；
由于译者身份的局限性，缺乏专业的语言翻译基础。
B.随着经验的累积，译者们开始倡导意译。
代表人物：马丁路德
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。
C.主张直译&意译相结合。
代表人物：玄奘大师—《钦定本圣经》

[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.

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。

[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.
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。

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。
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。
A.4世纪，乌裴拉主教翻译成东日耳曼语。
8、9世纪，阿尔弗雷得等翻译成古英语。
这些标志着民族语言翻译的开始。
B.《圣经》翻译在13世纪达到了新的高潮。
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。
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。
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。
作用：完全符合英语的用法习惯，增加了英语的表现力；
对英国散文、语言和文化发展起到了不可估量的作用。
3.《圣经》在汉译中的创造性叛逆
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。
B.特征：
a.显著的归化特征：吴经熊采用骚体，把外国的体裁中国化。
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。”
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。
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。
4.《圣经》汉译对中国语言文学的影响
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。
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。
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。

[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.

《圣经》中包含的男权思想：
1.创世纪故事中包含的男权思想。
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。
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。
2.“圣经故事”中的先知先觉、基督英雄们都是男性。
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。
3.婚姻家庭中的男权思想、夫权思想
a.嫡长子制，忽视女性后代的存在。
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。
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。

[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.
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。
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。
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。
3.利用前两种方式，同情地重新讲述关于妇女的故事
（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）

[6]林燕.女性主义圣经诠释概述[J].宗教学研究,2013(04):213-219.
女性经验是重新阐释圣经的基点。
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。
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。

参考文献：
[1]杨晓雨.佛经翻译与圣经翻译比较[J].考试周刊,2017(74):192.
[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.
[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.
[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.
[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.
[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)

《霍乱时期的爱情》
加夫列尔·加西亚·马尔克斯——拉美魔幻现实主义的领军人物
1967年，《百年孤独》；1982年，获诺贝尔奖；1985年，《霍乱时期的爱情》
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。
一.主要人物：
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。
“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。
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。
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。”

二.爱情&霍乱的隐喻关系
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”。
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。
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。
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。

2.在中国古代文学里也有关于爱情对疾病的意象。
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。
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。
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？
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。
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! ”
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。
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。
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。

三.主人公的青年、中年、老年三个阶段他们的爱情。
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。
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。
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。
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。
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。

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。
费&阿：隐秘顽强。阿里萨单相思，对抗时间和死亡。
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。
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。
阿里萨猎艳：通过性寻找爱，消除内心孤独感
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。
费&乌：世俗婚姻。陪伴，稳定、平淡。
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。

c.老年阶段——理性智慧，以费尔明娜和阿里萨的黄昏恋为主。
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。

四.小说里讲述的各种各样的爱情可能。
开篇摄影师赫雷米亚与黑白混血女人之间隐蔽的恋情；
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）；
阿里萨对费尔明娜忠贞不渝的单相思；
费尔明娜与乌尔比诺医生的世俗婚姻爱情；
乌尔比诺与林奇小姐战战兢兢的婚外恋；
阿里萨和众多女人们纯粹的肉欲追逐的露水爱情；
阿里萨与14岁少女的洛丽塔式的忘年恋…
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…
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”

五.除了爱情之外的其他主题。
1.衰老。儿童摄影师赫雷米亚德圣阿莫尔的自杀；
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）；
乌尔比诺医生、阿里萨想尽办法延缓衰老
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。
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。
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。

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。
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。
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。

参考文献：
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.
2.荣利. “滥情”的痴情者[D].浙江师范大学,2015.
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.
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.
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.
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)

handout of张传伟
世界主义与世界文学
一、世界主义

1、世界文学的定义：
(1) 各民族优秀文学的经典之总汇；
(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。

2、形成和发展
（1）词源探究
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。
（2）后世发展
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。
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。
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。

二、世界文学

1、源起
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。

2、“世界文学”内涵
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。

3、“世界文学”与“世界的文学”
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。
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。

4、世界文学与比较文学
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。

三、中国文学的世界化与世界文学的中国化

1、中国文学的世界化
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。
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。

2、世界文学的“中国化”
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。

参考文献
[1]方维规.何谓世界文学?[J].文艺研究,2017(01):5-18.
[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.
[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.
[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.
[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.
[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.

西方文学的翻译

一、翻译内容、技法叙事
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。
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。”
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。

二、翻译方法和翻译文体
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。

三、近代翻译与意识形态的相互关系
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
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。”

四、近代翻译在文化和语言方面的属性
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。
五、近代翻译的动机及其所带来的影响
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。”
参考文献
【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.
【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.
【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.
【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.
【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.

外国诗歌翻译
[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.
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。

[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.
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)。
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。

[3]熊辉.翻译诗歌对诗人创作的影响[J].文艺争鸣,2017(09):7-12.
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。

[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.
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。

[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.
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。

[[Media:Earliest_translations_from_the_West_to_Chinese_presentation_by_Lin_Li.pdf]]

[[Media:The Arabian Nights_by_Wang_Xinyi.pdf]]

[[Media:Lecture_The Arabian Nights_by_Wang_Xinyi.pdf]]

20211222 homework

2021-12-26T11:19:49Z

Fu Hongyan: /* 付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485 */

20211222 homework

2021-12-26T11:18:13Z

Fu Hongyan: /* 杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484 */

20211222 homework

2021-12-19T14:27:45Z

Fu Hongyan: /* 付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485 */

20211215 homework

2021-12-19T14:13:10Z

Fu Hongyan: /* 杜莉娜 Dù Lìnuó 英语语言文学（语言学）女 202120081484 */

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]]

==陈静 Chén Jìng 国别女 202020080595==

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。

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.
----

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.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)

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

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。

Grasping -- namely "grasping the week", also known as "trying the child" and "trying the week". 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.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)

Catch ─ ─ means "catch the week", also known as "test" and "test week". 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)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

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。”

It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that "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."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)

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

(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。

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

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。”

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)

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)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

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。

Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': "Zhizhi lies in Gewu, and after Gewu, knowledge arrives." 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)

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

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；
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)

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)

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

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。

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)

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)

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

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；

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.

All these people are strongly 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.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)

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

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；

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. It were Xu You... Zhao Yun -- Xu You who were said 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 prestigious persons in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)

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)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

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；

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)

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)

==高蜜 Gāo Mì 翻译学女 202120081487==

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；

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)

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)

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

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；

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)

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)

==何芩 Hé Qín 翻译学女 202120081489==

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。

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 "The Western Chamber"), 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)

Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing, also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

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

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”。

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.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

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)

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

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。

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (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)

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (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)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

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。

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 "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)

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 "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

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。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang

--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

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。”
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, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "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)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

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”。

第三回

托内兄如海荐西宾接外孙贾母惜孤女

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

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。

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.

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)

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

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。

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. "Providence and good fortune are both alike propitious!" said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)

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, "Providence and good fortune are both alike propitious!" --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)

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

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；

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)

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)

==李双 Lǐ Shuāng 翻译学女 202120081499==

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；

“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)

“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)

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

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。

“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)

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. "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)

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

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；
Ruhai also said: "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?" 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: "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)
Ruhai said, "I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, "Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)

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

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。
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?" When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)

And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

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。
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)

One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Jia Zheng had received his brother-in-law's letter, he 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 Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)

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

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

They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)

They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rong Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)

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

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。

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)

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

==刘薇 Liú Wēi 国别女 202120081507==

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。”

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 "Ningguo Mansion". "That must be grandfather's the first son's mansion."Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei

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 "Ningguo Mansion Built at Imperial Command". 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)

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

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。

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)

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)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

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。

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)

After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Black Jade out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)

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

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。”

Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Lin is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)

Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, "The old lady just talked about you again and again in anticipation, and here you are." then the four maids scrambled to open the curtain. Meanwhile a man said, "Miss Lin is coming."--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)

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

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。
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly "my sweet heart!" Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U

As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:"my sweety!". The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)

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

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。

Baoyu's grandmother than introduce them respectively:"This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:"Invite the gilrs. Today here come the dear guest, so they don't need to go to school." Surrounding people said yes, and two of them left.

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

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；

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)

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)

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

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。

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. "Of all my chilren I loved your mother best," she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

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。

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)

"Once she died before me, it is so sad that I could not see her again." 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)

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

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。

So they asked:" What medicine do you usually take? Why doesn't it work?" Daiyu replied:" 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)

They then asked, "What medicines do you take regularly? Why can't you cure your illness?" Daiyu said, "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)

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

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。

The monk said, "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." 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)

The monk said, "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." 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)

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

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？”

Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:" What a coincidence! The pills are making now, I just tell them to add one." The words have not been finished, but there is a laugh in the back yard, which said:" I come late and fail to welcome our distinguished guest." 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)

Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:" It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion." The words are not finished, but there is a laugh in the back yard, which said:" I am late and fail to welcome our distinguished guest." 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)

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

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；

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)

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)

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

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。”

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, "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'."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)

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)

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

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。

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)

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)

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

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。

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:"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)

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:"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)

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

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。”

I pity my sister for being so miserable, how could my aunt died so early?" She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, "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."--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)

I pity my sister who is so miserable, how could my aunt have died?" 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."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)

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

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。

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!" He also took Daiyu's hand and asked, "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)

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

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。”

Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. " Daiyu nodded one by one. On one side, Xifeng asked, "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."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)

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. " Daiyu nodded one by one. At the same time, Xifeng asked, "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."--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)

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

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！”

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)

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, "Have the monthly payment been given out?" Xifeng answered, "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)

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

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。”

Mrs. Wang said, "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 ." Xifeng said, "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."--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)

Mrs. Wang added, "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 ." Xifeng said, "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."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)

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

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。”

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, "it's also very convenient for me to take my niece."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)

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, "it's also very convenient for me to take my niece."--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)

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

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。

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)
The mother laughed and said, "Exactly, you also go, no need to come." 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)

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

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。
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.

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)

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

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。

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)

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)

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

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。’”

Mrs.Xing came back and said, "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)

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

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。”

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

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。

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

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。

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)

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)

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

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。

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 "Rongxi hall"; Then there is a line of small characters: "on a certain date, this was given to Jia Yuan, the Duke of Honor", 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)

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)

==颜莉莉 Yán Lìlì 国别女 202120081537==

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。

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)

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)

==颜子涵 Yán Zǐhán 国别女 202120081538==

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。

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)

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)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

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。

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.
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)

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)

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

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。

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)

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)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

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。

Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." 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)

Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." 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)

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

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。

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)

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)

==叶维杰 Yè Wéijié 国别男 202120081544==

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。

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: "Your uncle has gone fast today, goodbye.

Daiyu thought that this was Jia Zheng's seat, because she saw that there were three chairs next to the bed with a half-used chair, so Daiyu sat down on the chair. She sat down next to Madam Wang after she had asked her to go to the bed again and again. Mrs. Wang said, "Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan

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

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。

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

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)

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

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。”

“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)

"You can ignore him in future because none of your sisters dare to mess up with him". Mascara Jade has long heard from her mother about him: "I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be". --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)

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

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。

What Lady King described today is the cousin for sure. Mascara Jade said while smiling:" 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".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)

Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:" 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".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)

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

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。

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?" Lady King smiled and said, "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)

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?" Lady King smiled and said, "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)

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

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。

“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)
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)

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

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。
Suddenly see a servant girl to say: "old lady there spread supper." 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)

Suddenly a servant girl said, "the old lady has passed on dinner." 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)

==张扬 Zhāng Yáng 国别男 202120081551==

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。

Lady King smiled at Mascara Jade Pearl and said: "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." 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)

Lady King smiled at Mascara Jade Pearl and said: "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." 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.

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

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。

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)

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)

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

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。

Mrs. Jia said with a smile, "your aunt and sister-in-law don't eat here. You are a guest. You should have sat here." 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)

Mrs. Jia said with a smile, "your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here." 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)

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

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；

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)

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)

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

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。”
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 , "You all go and let's have a talk in our own comfort."

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, "You all go and let's have a talk in our own comfort."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)

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

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。”

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, "I just have read the ''Four Books''." When Daiyu asked her sisters what books they read, Grandma Merchant said, "They don't read anything. They only know a few words."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)
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, "I have just begun reading the Four Books," Tai-yue replied. "What books are my cousins reading?" Tai-yue went on to ask. "Books, you say!" exclaimed dowager lady Chia; "why all they know are a few characters, that's all."--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)

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

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；

The sentence was barely out of her lips, when a continuous sounding of footsteps
was heard outside, and a waiting maid entered and announced that Pao-yue was
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had
turned out such a good-for-nothing fellow, when he happened to walk in.
He was, in fact, a young man of tender years, wearing on his head, to hold his
hair together, a cap of gold of purplish tinge, inlaid with precious gems.
Parallel with his eyebrows was attached a circlet, embroidered with gold, and
representing two dragons snatching a pearl.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)

After a word, only a sound of footsteps outside, the maid came in and reported: "Baoyu is here." Daiyu thought to herself: "This Baoyu, I don't know what a tired lazy person." 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)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

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。

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.

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)

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

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。”

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."How very strange." she was reflecting in her mind; "it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Baoyu greeted Lady Dowager "Go and see your mother and then come back," remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)

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: "How strange it is." she was reflecting in her mind; "as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Baoyu greeted Lady Dowager "Go and see your mother and then come back."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)

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

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；

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.;

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)

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

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。
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.

==Nadia 202011080004==

后人有《西江月》二词批的极确，词曰：

==Mahzad Heydarian 玛莎 202021080004==

无故寻愁觅恨，有时似傻如狂。
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.

==Mariam toure 2020GBJ002301==

纵然生得好皮囊，腹内原来草莽。

==Rouabah Soumaya 202121080001==

潦倒不通庶务，愚顽怕读文章。

I'm not able to get through general affairs, and I'm afraid of reading articles.

==Muhammad Numan 202121080002==

行为偏僻性乖张，那管世人诽谤。
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)

==Atta Ur Rahman 202121080003==

又曰：富贵不知乐业，贫穷难耐凄凉。
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.

==Muhammad Saqib Mehran 202121080004==

可怜辜负好时光，于国于家无望。

==Zohaib Chand 202121080005==

天下无能第一，古今不肖无双。

==Jawad Ahmad 202121080006==

寄言纨袴与膏粱，莫效此儿形状。

English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.

==Nizam Uddin 202121080007==

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。”

==Öncü 202121080008==

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。

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)

==Akira Jantarat 202121080009==

归了坐细看时，真是与众各别。

When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)

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)

==Benjamin Wellsand 202111080118==

只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。

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)

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)

==Asep Budiman 202111080020==

态生两靥之愁，娇袭一身之病。

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)

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

==Ei Mon Kyaw 202111080021==

泪光点点，娇喘微微。

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)
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)

The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)

20211215 homework

2021-12-19T14:10:10Z

Fu Hongyan: /* 付红岩 Fù Hóngyán 英语语言文学（英美文学）女 202120081485 */

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]]

==陈静 Chén Jìng 国别女 202020080595==

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。

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.
----

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.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)

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

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。

Grasping -- namely "grasping the week", also known as "trying the child" and "trying the week". 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.
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)

Catch ─ ─ means "catch the week", also known as "test" and "test week". 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)

==曾俊霖 Zēng Jùnlín 国别男 202120081478==

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。”

It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that "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."--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)

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

(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。

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

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。”

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)

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)

==陈心怡 Chén Xīnyí 翻译学女 202120081481==

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。

Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': "Zhizhi lies in Gewu, and after Gewu, knowledge arrives." 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)

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

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；
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)

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)

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

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。

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)

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)

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

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；

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.

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

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；

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. It were Xu You... Zhao Yun -- Xu You who were said 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 prestigious persons in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)

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)

==付诗雨 Fù Shīyǔ 日语语言文学女 202120081486==

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；

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)

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)

==高蜜 Gāo Mì 翻译学女 202120081487==

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；

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)

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)

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

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；

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)

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)

==何芩 Hé Qín 翻译学女 202120081489==

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。

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 "The Western Chamber"), 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)

Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing, also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and Wang Shifu's "The Western Chamber"), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

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

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”。

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.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)

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)

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

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。

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (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)

It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying "how can the world be immutable! The loser is the thief, and the winner is the emperor." Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography" and Liu Yiqing's "Shi Shuo Xin Yu · Elegance" (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)

==黄逸妍 Huáng Yìyán 外国语言学及应用语言学女 202120081492==

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。

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 "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)

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 "East Bed", "East Bed Man Showing Belly", "East Bed Guest", "East Bed Distinguished Guest" and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang

==黄柱梁 Huáng Zhùliáng 国别男 202120081493==

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。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of "retreat and give up" is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang

--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)

==金晓童 Jīn Xiǎotóng 202120081494==

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。”
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, "If childe returns to the state of Jin, how will you repay me? Chong Er answered, "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)

==邝艳丽 Kuàng Yànl 英语语言文学（语言学）女 202120081495==

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”。

第三回

托内兄如海荐西宾接外孙贾母惜孤女

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

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。

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.

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)

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

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。

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. "Providence and good fortune are both alike propitious!" said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)

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, "Providence and good fortune are both alike propitious!" --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)

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

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；

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)

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)

==李双 Lǐ Shuāng 翻译学女 202120081499==

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；

“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)

“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)

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

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。

“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)

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. "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)

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

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；
Ruhai also said: "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?" 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: "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)
Ruhai said, "I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, "Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)

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

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。
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?" When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)

And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)

==李怡 Lǐ Yí 法语语言文学女 202120081504==

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。
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)

One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Jia Zheng had received his brother-in-law's letter, he 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 Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)

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

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

They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)

They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rong Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)

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

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。

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)

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

==刘薇 Liú Wēi 国别女 202120081507==

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。”

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 "Ningguo Mansion". "That must be grandfather's the first son's mansion."Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei

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 "Ningguo Mansion Built at Imperial Command". 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)

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

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。

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)

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)

==刘越 Liú Yuè 亚非语言文学女 202120081509==

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。

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)

After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Black Jade out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)

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

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。”

Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Lin is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)

Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, "The old lady just talked about you again and again in anticipation, and here you are." then the four maids scrambled to open the curtain. Meanwhile a man said, "Miss Lin is coming."--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)

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

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。
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly "my sweet heart!" Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U

As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:"my sweety!". The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)

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

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。

Baoyu's grandmother than introduce them respectively:"This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:"Invite the gilrs. Today here come the dear guest, so they don't need to go to school." Surrounding people said yes, and two of them left.

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

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；

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)

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)

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

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。

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. "Of all my chilren I loved your mother best," she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)

==毛优 Máo Yōu 俄语语言文学女 202120081515==

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。

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)

"Once she died before me, it is so sad that I could not see her again." 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)

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

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。

So they asked:" What medicine do you usually take? Why doesn't it work?" Daiyu replied:" 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)

They then asked, "What medicines do you take regularly? Why can't you cure your illness?" Daiyu said, "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)

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

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。

The monk said, "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." 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)

The monk said, "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." 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)

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

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？”

Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:" What a coincidence! The pills are making now, I just tell them to add one." The words have not been finished, but there is a laugh in the back yard, which said:" I come late and fail to welcome our distinguished guest." 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)

Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:" It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion." The words are not finished, but there is a laugh in the back yard, which said:" I am late and fail to welcome our distinguished guest." 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)

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

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；

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)

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)

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

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。”

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, "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'."--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)

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)

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

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。

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)

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)

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

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。

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:"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)

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:"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)

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

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。”

I pity my sister for being so miserable, how could my aunt died so early?" She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, "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."--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)

I pity my sister who is so miserable, how could my aunt have died?" 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."--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)

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

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。

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!" He also took Daiyu's hand and asked, "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)

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

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。”

Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. " Daiyu nodded one by one. On one side, Xifeng asked, "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."--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)

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. " Daiyu nodded one by one. At the same time, Xifeng asked, "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."--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)

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

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！”

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)

Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, "Have the monthly payment been given out?" Xifeng answered, "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)

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

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。”

Mrs. Wang said, "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 ." Xifeng said, "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."--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)

Mrs. Wang added, "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 ." Xifeng said, "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."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)

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

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。”

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, "it's also very convenient for me to take my niece."--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)

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, "it's also very convenient for me to take my niece."--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)

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

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。

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)
The mother laughed and said, "Exactly, you also go, no need to come." 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)

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

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。
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.

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)

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

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。

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)

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)

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

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。’”

Mrs.Xing came back and said, "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)

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

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。”

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

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。

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

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。

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)

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)

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

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。

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 "Rongxi hall"; Then there is a line of small characters: "on a certain date, this was given to Jia Yuan, the Duke of Honor", 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)

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)

==颜莉莉 Yán Lìlì 国别女 202120081537==

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。

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)

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)

==颜子涵 Yán Zǐhán 国别女 202120081538==

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。

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)

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)

==阳佳颖 Yáng Jiāyǐng 国别女 202120081540==

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。

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.
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)

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)

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

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。

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)

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)

==杨堃 Yáng Kūn 法语语言文学女 202120081542==

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。

Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." 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)

Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, "Mrs. Wang invited Miss Lin to come and sit over there." 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)

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

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。

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)

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)

==叶维杰 Yè Wéijié 国别男 202120081544==

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。

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: "Your uncle has gone fast today, goodbye.

Daiyu thought that this was Jia Zheng's seat, because she saw that there were three chairs next to the bed with a half-used chair, so Daiyu sat down on the chair. She sat down next to Madam Wang after she had asked her to go to the bed again and again. Mrs. Wang said, "Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan

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

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。

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

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)

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

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。”

“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)

"You can ignore him in future because none of your sisters dare to mess up with him". Mascara Jade has long heard from her mother about him: "I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be". --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)

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

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。

What Lady King described today is the cousin for sure. Mascara Jade said while smiling:" 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".--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)

Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:" 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".--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)

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

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。

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?" Lady King smiled and said, "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)

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?" Lady King smiled and said, "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)

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

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。

“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)
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)

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

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。
Suddenly see a servant girl to say: "old lady there spread supper." 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)

Suddenly a servant girl said, "the old lady has passed on dinner." 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)

==张扬 Zhāng Yáng 国别男 202120081551==

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。

Lady King smiled at Mascara Jade Pearl and said: "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." 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)

Lady King smiled at Mascara Jade Pearl and said: "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." 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.

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

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。

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)

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)

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

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。

Mrs. Jia said with a smile, "your aunt and sister-in-law don't eat here. You are a guest. You should have sat here." 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)

Mrs. Jia said with a smile, "your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here." 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)

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

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；

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)

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)

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

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。”
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 , "You all go and let's have a talk in our own comfort."

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, "You all go and let's have a talk in our own comfort."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)

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

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。”

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, "I just have read the ''Four Books''." When Daiyu asked her sisters what books they read, Grandma Merchant said, "They don't read anything. They only know a few words."--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)
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, "I have just begun reading the Four Books," Tai-yue replied. "What books are my cousins reading?" Tai-yue went on to ask. "Books, you say!" exclaimed dowager lady Chia; "why all they know are a few characters, that's all."--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)

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

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；

The sentence was barely out of her lips, when a continuous sounding of footsteps
was heard outside, and a waiting maid entered and announced that Pao-yue was
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had
turned out such a good-for-nothing fellow, when he happened to walk in.
He was, in fact, a young man of tender years, wearing on his head, to hold his
hair together, a cap of gold of purplish tinge, inlaid with precious gems.
Parallel with his eyebrows was attached a circlet, embroidered with gold, and
representing two dragons snatching a pearl.
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)

After a word, only a sound of footsteps outside, the maid came in and reported: "Baoyu is here." Daiyu thought to herself: "This Baoyu, I don't know what a tired lazy person." 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)

==周清 Zhōu Qīng 法语语言文学女 202120081558==

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。

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.

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)

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

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。”

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."How very strange." she was reflecting in her mind; "it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Baoyu greeted Lady Dowager "Go and see your mother and then come back," remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)

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: "How strange it is." she was reflecting in her mind; "as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;" Baoyu greeted Lady Dowager "Go and see your mother and then come back."--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)

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

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；

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.;

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)

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

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。
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.

==Nadia 202011080004==

后人有《西江月》二词批的极确，词曰：

==Mahzad Heydarian 玛莎 202021080004==

无故寻愁觅恨，有时似傻如狂。
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.

==Mariam toure 2020GBJ002301==

纵然生得好皮囊，腹内原来草莽。

==Rouabah Soumaya 202121080001==

潦倒不通庶务，愚顽怕读文章。

I'm not able to get through general affairs, and I'm afraid of reading articles.

==Muhammad Numan 202121080002==

行为偏僻性乖张，那管世人诽谤。
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)

==Atta Ur Rahman 202121080003==

又曰：富贵不知乐业，贫穷难耐凄凉。
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.

==Muhammad Saqib Mehran 202121080004==

可怜辜负好时光，于国于家无望。

==Zohaib Chand 202121080005==

天下无能第一，古今不肖无双。

==Jawad Ahmad 202121080006==

寄言纨袴与膏粱，莫效此儿形状。

English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.

==Nizam Uddin 202121080007==

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。”

==Öncü 202121080008==

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。

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)

==Akira Jantarat 202121080009==

归了坐细看时，真是与众各别。

When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)

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)

==Benjamin Wellsand 202111080118==

只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。

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)

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)

==Asep Budiman 202111080020==

态生两靥之愁，娇袭一身之病。

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)

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

==Ei Mon Kyaw 202111080021==

泪光点点，娇喘微微。

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)
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)

The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)

Theor App Lit EN 1

2021-12-16T07:35:47Z

Fu Hongyan: /* Major Findings of the Study */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=

===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.(Pan Yue & Lei Ge. 1996:3-342)

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author studies the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying. --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

The report is structured as following: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.
--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel Beloved and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically. (Pan Yue & Lei Ge. 1996:3-342)

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Language features are determined by the specific social group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from traditional American writers. The excerpted text has the following linguistic characteristics:

In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are humorous, opposite to the common daily language, involving a large number of slang words, close to life.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:01, 16 December 2021 (UTC)

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

More specifically, one of the most typical linguistic characteristics of this novel is Black English. Black English is a kind of informal language that in novels can reveal different images and the peculiar culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.
--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:01, 16 December 2021 (UTC)

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.(Catford, 1965: 85)

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation. In this regard, it is the basis for the theory of translation transformation. (Vinay, 1958,:46)

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965: 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (Mu Lei, 1990,:37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005: 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator. (Catford, 1965: 10), (Mu Lei, 1990:37-42), (Halliday, 2005:33-36)

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.(Catford, 1965:74)

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965:23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation", such as the change of word order, which does not go beyond the grammatical level of the sentence. (Catford, 1965:77)

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item”. A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses. (Catford, 1965:78)

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL. As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts. (Catford, 1965,:79)

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965: 80). Intra-system Shifts are used for situations where the shifts occur internally (Lin Ling，2009: 74-78，82).

====Feasibility====

In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts. However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future. (Mao Jingjing，2015:145-146)

In China, the study of translation methods and strategies has been a long history for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts. However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future. (Mao Jingjing，2015:145-146)--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:09, 16 December 2021 (UTC)

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.(Catford, 1965:79)

=====Tense and Aspects Shifts=====
Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====

In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(Maojingjing, 2015:145-146)

In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive voice and negative voice; and (2) shifts between active expression and passive expression.(Maojingjing, 2015:145-146)--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:23, 16 December 2021 (UTC) The difference between two points is a little confusing. Maybe they both mean positive and negative voive? Or something else. It's better if proveiding a more clear explanation.

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese. There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used. (Lian Shuneng，1993:90)

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

Example 9

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

Example 10

ST10: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT10: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated. But the most common way is to translate prepositions into verbs. (Zhong Jingyao，2003:84-85)

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''

Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====

According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation. (Catford, 1965:80)

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====

After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

Secondly, the translation of literary novels is the most difficult among different genres. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:35, 16 December 2021 (UTC)

====Limitations of the Study====

The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===

Catford J C (1965). A Linguistic Theory of Translation[M]. London: Oxford University Press, 85－91.

Halliday M A(2005). On Grammer[M]. London: Continuum International Publishing.

Lian Shuneng 连淑能(1993). 英汉对比研究[M] Contrastive Studies of English and Chinese. 北京: 高等教育出版社 Beijing: Higher education Press, 90.

Lin Ling 林铃（2009）．卡特福德翻译转换模式下的翻译过程研究[J] A Study on the Translation Process under Catford's Translation Transformation Model．外语教育与教学 Foreign Language Teaching and Learning，5：74-75，82．

Mao Jingjing 毛菁菁(2015). 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J] The Application of Translation Shift Theory in C- E Translation -- Taking the English Version of Mo Yan's Red Sorghum as an Example. 兰州教育学院学报 Journal of Lanzhou Institute of Education, 3: 145-146.

Monday J(2006). Introducing Translation Studies [M]. London: Routledge.

Mu Lei 穆雷 (1990)．评卡特福德的《翻译的语言学理论》[J] On Catford‘s A Linguistic Theory of Translation. 外语教学 Foreign Language Teaching，2：37-42．

Pan Yue & Lei Ge 潘岳、雷格 (1996). 宠儿[M] Beloved. 北京：中国文学出版社 Beijing:Chinese Literature Press, 3-245.

Vinay J P, Darbelnet J (1958). Translation and activism[M]. Paris: Didier.

Zhong Jingyao 仲晶瑶(2003). 从动词特性看英汉介词[J] Prepositions in English and Chinese from the Perspective of Verb Characteristics. 黑龙江教育学院学报 Journal of Heilongjiang Institute of Education , 3: 84-85.

Theor App Lit EN 1

2021-12-16T07:23:45Z

Fu Hongyan: /* Structure Shifts */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=

===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.(Pan Yue & Lei Ge. 1996:3-342)

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author studies the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying. --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

The report is structured as following: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.
--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel Beloved and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically. (Pan Yue & Lei Ge. 1996:3-342)

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Language features are determined by the specific social group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from traditional American writers. The excerpted text has the following linguistic characteristics:

In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are humorous, opposite to the common daily language, involving a large number of slang words, close to life.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:01, 16 December 2021 (UTC)

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

More specifically, one of the most typical linguistic characteristics of this novel is Black English. Black English is a kind of informal language that in novels can reveal different images and the peculiar culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.
--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:01, 16 December 2021 (UTC)

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.(Catford, 1965: 85)

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation. In this regard, it is the basis for the theory of translation transformation. (Vinay, 1958,:46)

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965: 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (Mu Lei, 1990,:37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005: 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator. (Catford, 1965: 10), (Mu Lei, 1990:37-42), (Halliday, 2005:33-36)

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.(Catford, 1965:74)

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965:23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation", such as the change of word order, which does not go beyond the grammatical level of the sentence. (Catford, 1965:77)

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item”. A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses. (Catford, 1965:78)

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL. As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts. (Catford, 1965,:79)

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965: 80). Intra-system Shifts are used for situations where the shifts occur internally (Lin Ling，2009: 74-78，82).

====Feasibility====

In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts. However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future. (Mao Jingjing，2015:145-146)

In China, the study of translation methods and strategies has been a long history for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts. However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future. (Mao Jingjing，2015:145-146)--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:09, 16 December 2021 (UTC)

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.(Catford, 1965:79)

=====Tense and Aspects Shifts=====
Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====

In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(Maojingjing, 2015:145-146)

In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive voice and negative voice; and (2) shifts between active expression and passive expression.(Maojingjing, 2015:145-146)--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:23, 16 December 2021 (UTC) The difference between two points is a little confusing. Maybe they both mean positive and negative voive? Or something else. It's better if proveiding a more clear explanation.

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese. There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used. (Lian Shuneng，1993:90)

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

Example 9

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

Example 10

ST10: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT10: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated. But the most common way is to translate prepositions into verbs. (Zhong Jingyao，2003:84-85)

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''

Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====

According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation. (Catford, 1965:80)

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====

After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====

The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===

Catford J C (1965). A Linguistic Theory of Translation[M]. London: Oxford University Press, 85－91.

Halliday M A(2005). On Grammer[M]. London: Continuum International Publishing.

Lian Shuneng 连淑能(1993). 英汉对比研究[M] Contrastive Studies of English and Chinese. 北京: 高等教育出版社 Beijing: Higher education Press, 90.

Lin Ling 林铃（2009）．卡特福德翻译转换模式下的翻译过程研究[J] A Study on the Translation Process under Catford's Translation Transformation Model．外语教育与教学 Foreign Language Teaching and Learning，5：74-75，82．

Mao Jingjing 毛菁菁(2015). 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J] The Application of Translation Shift Theory in C- E Translation -- Taking the English Version of Mo Yan's Red Sorghum as an Example. 兰州教育学院学报 Journal of Lanzhou Institute of Education, 3: 145-146.

Monday J(2006). Introducing Translation Studies [M]. London: Routledge.

Mu Lei 穆雷 (1990)．评卡特福德的《翻译的语言学理论》[J] On Catford‘s A Linguistic Theory of Translation. 外语教学 Foreign Language Teaching，2：37-42．

Pan Yue & Lei Ge 潘岳、雷格 (1996). 宠儿[M] Beloved. 北京：中国文学出版社 Beijing:Chinese Literature Press, 3-245.

Vinay J P, Darbelnet J (1958). Translation and activism[M]. Paris: Didier.

Zhong Jingyao 仲晶瑶(2003). 从动词特性看英汉介词[J] Prepositions in English and Chinese from the Perspective of Verb Characteristics. 黑龙江教育学院学报 Journal of Heilongjiang Institute of Education , 3: 84-85.

Theor App Lit EN 1

2021-12-16T07:09:17Z

Fu Hongyan: /* Theoretical Framework */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=

===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.(Pan Yue & Lei Ge. 1996:3-342)

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author studies the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying. --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

The report is structured as following: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.
--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel Beloved and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically. (Pan Yue & Lei Ge. 1996:3-342)

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Language features are determined by the specific social group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from traditional American writers. The excerpted text has the following linguistic characteristics:

In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are humorous, opposite to the common daily language, involving a large number of slang words, close to life.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:01, 16 December 2021 (UTC)

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

More specifically, one of the most typical linguistic characteristics of this novel is Black English. Black English is a kind of informal language that in novels can reveal different images and the peculiar culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.
--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:01, 16 December 2021 (UTC)

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.(Catford, 1965: 85)

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation. In this regard, it is the basis for the theory of translation transformation. (Vinay, 1958,:46)

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965: 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (Mu Lei, 1990,:37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005: 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator. (Catford, 1965: 10), (Mu Lei, 1990:37-42), (Halliday, 2005:33-36)

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.(Catford, 1965:74)

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965:23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation", such as the change of word order, which does not go beyond the grammatical level of the sentence. (Catford, 1965:77)

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item”. A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses. (Catford, 1965:78)

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL. As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts. (Catford, 1965,:79)

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965: 80). Intra-system Shifts are used for situations where the shifts occur internally (Lin Ling，2009: 74-78，82).

====Feasibility====

In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts. However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future. (Mao Jingjing，2015:145-146)

In China, the study of translation methods and strategies has been a long history for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts. However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future. (Mao Jingjing，2015:145-146)--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:09, 16 December 2021 (UTC)

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.(Catford, 1965:79)

=====Tense and Aspects Shifts=====
Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====

In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(Maojingjing, 2015:145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese. There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used. (Lian Shuneng，1993:90)

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

Example 9

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

Example 10

ST10: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT10: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated. But the most common way is to translate prepositions into verbs. (Zhong Jingyao，2003:84-85)

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''

Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====

According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation. (Catford, 1965:80)

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====

After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====

The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===

Catford J C (1965). A Linguistic Theory of Translation[M]. London: Oxford University Press, 85－91.

Halliday M A(2005). On Grammer[M]. London: Continuum International Publishing.

Lian Shuneng 连淑能(1993). 英汉对比研究[M] Contrastive Studies of English and Chinese. 北京: 高等教育出版社 Beijing: Higher education Press, 90.

Lin Ling 林铃（2009）．卡特福德翻译转换模式下的翻译过程研究[J] A Study on the Translation Process under Catford's Translation Transformation Model．外语教育与教学 Foreign Language Teaching and Learning，5：74-75，82．

Mao Jingjing 毛菁菁(2015). 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J] The Application of Translation Shift Theory in C- E Translation -- Taking the English Version of Mo Yan's Red Sorghum as an Example. 兰州教育学院学报 Journal of Lanzhou Institute of Education, 3: 145-146.

Monday J(2006). Introducing Translation Studies [M]. London: Routledge.

Mu Lei 穆雷 (1990)．评卡特福德的《翻译的语言学理论》[J] On Catford‘s A Linguistic Theory of Translation. 外语教学 Foreign Language Teaching，2：37-42．

Pan Yue & Lei Ge 潘岳、雷格 (1996). 宠儿[M] Beloved. 北京：中国文学出版社 Beijing:Chinese Literature Press, 3-245.

Vinay J P, Darbelnet J (1958). Translation and activism[M]. Paris: Didier.

Zhong Jingyao 仲晶瑶(2003). 从动词特性看英汉介词[J] Prepositions in English and Chinese from the Perspective of Verb Characteristics. 黑龙江教育学院学报 Journal of Heilongjiang Institute of Education , 3: 84-85.

Theor App Lit EN 1

2021-12-16T07:01:27Z

Fu Hongyan: /* Introduction to Beloved */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=

===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.(Pan Yue & Lei Ge. 1996:3-342)

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author studies the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying. --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

The report is structured as following: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.
--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel Beloved and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically. (Pan Yue & Lei Ge. 1996:3-342)

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Language features are determined by the specific social group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from traditional American writers. The excerpted text has the following linguistic characteristics:

In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are humorous, opposite to the common daily language, involving a large number of slang words, close to life.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:01, 16 December 2021 (UTC)

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

More specifically, one of the most typical linguistic characteristics of this novel is Black English. Black English is a kind of informal language that in novels can reveal different images and the peculiar culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.
--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 07:01, 16 December 2021 (UTC)

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.(Catford, 1965: 85)

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation. In this regard, it is the basis for the theory of translation transformation. (Vinay, 1958,:46)

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965: 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (Mu Lei, 1990,:37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005: 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator. (Catford, 1965: 10), (Mu Lei, 1990:37-42), (Halliday, 2005:33-36)

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.(Catford, 1965:74)

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965:23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation", such as the change of word order, which does not go beyond the grammatical level of the sentence. (Catford, 1965:77)

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item”. A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses. (Catford, 1965:78)

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL. As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts. (Catford, 1965,:79)

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965: 80). Intra-system Shifts are used for situations where the shifts occur internally (Lin Ling，2009: 74-78，82).

====Feasibility====

In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts. However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future. (Mao Jingjing，2015:145-146)

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.(Catford, 1965:79)

=====Tense and Aspects Shifts=====
Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====

In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(Maojingjing, 2015:145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese. There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used. (Lian Shuneng，1993:90)

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

Example 9

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

Example 10

ST10: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT10: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated. But the most common way is to translate prepositions into verbs. (Zhong Jingyao，2003:84-85)

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''

Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====

According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation. (Catford, 1965:80)

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====

After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====

The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===

Catford J C (1965). A Linguistic Theory of Translation[M]. London: Oxford University Press, 85－91.

Halliday M A(2005). On Grammer[M]. London: Continuum International Publishing.

Lian Shuneng 连淑能(1993). 英汉对比研究[M] Contrastive Studies of English and Chinese. 北京: 高等教育出版社 Beijing: Higher education Press, 90.

Lin Ling 林铃（2009）．卡特福德翻译转换模式下的翻译过程研究[J] A Study on the Translation Process under Catford's Translation Transformation Model．外语教育与教学 Foreign Language Teaching and Learning，5：74-75，82．

Mao Jingjing 毛菁菁(2015). 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J] The Application of Translation Shift Theory in C- E Translation -- Taking the English Version of Mo Yan's Red Sorghum as an Example. 兰州教育学院学报 Journal of Lanzhou Institute of Education, 3: 145-146.

Monday J(2006). Introducing Translation Studies [M]. London: Routledge.

Mu Lei 穆雷 (1990)．评卡特福德的《翻译的语言学理论》[J] On Catford‘s A Linguistic Theory of Translation. 外语教学 Foreign Language Teaching，2：37-42．

Pan Yue & Lei Ge 潘岳、雷格 (1996). 宠儿[M] Beloved. 北京：中国文学出版社 Beijing:Chinese Literature Press, 3-245.

Vinay J P, Darbelnet J (1958). Translation and activism[M]. Paris: Didier.

Zhong Jingyao 仲晶瑶(2003). 从动词特性看英汉介词[J] Prepositions in English and Chinese from the Perspective of Verb Characteristics. 黑龙江教育学院学报 Journal of Heilongjiang Institute of Education , 3: 84-85.

Theor App Lit EN 1

2021-12-16T06:52:04Z

Fu Hongyan: /* Introduction */

Quicklink back to the overview page [[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

Chapter [[Theor_App_Lit_EN_1]]

=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=

===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.(Pan Yue & Lei Ge. 1996:3-342)

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author studies the Chinese translation of ''Beloved'' from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying. --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

The report is structured as following: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.
--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 06:52, 16 December 2021 (UTC)

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel ''Beloved'' and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically. (Pan Yue & Lei Ge. 1996:3-342)

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.(Catford, 1965: 85)

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation. In this regard, it is the basis for the theory of translation transformation. (Vinay, 1958,:46)

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965: 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (Mu Lei, 1990,:37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005: 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator. (Catford, 1965: 10), (Mu Lei, 1990:37-42), (Halliday, 2005:33-36)

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.(Catford, 1965:74)

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965:23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation", such as the change of word order, which does not go beyond the grammatical level of the sentence. (Catford, 1965:77)

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item”. A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses. (Catford, 1965:78)

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL. As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts. (Catford, 1965,:79)

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965: 80). Intra-system Shifts are used for situations where the shifts occur internally (Lin Ling，2009: 74-78，82).

====Feasibility====

In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts. However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future. (Mao Jingjing，2015:145-146)

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.(Catford, 1965:79)

=====Tense and Aspects Shifts=====
Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====

In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(Maojingjing, 2015:145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese. There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used. (Lian Shuneng，1993:90)

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

Example 9

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

Example 10

ST10: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT10: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated. But the most common way is to translate prepositions into verbs. (Zhong Jingyao，2003:84-85)

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''

Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====

According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation. (Catford, 1965:80)

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====

After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====

The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===

Catford J C (1965). A Linguistic Theory of Translation[M]. London: Oxford University Press, 85－91.

Halliday M A(2005). On Grammer[M]. London: Continuum International Publishing.

Lian Shuneng 连淑能(1993). 英汉对比研究[M] Contrastive Studies of English and Chinese. 北京: 高等教育出版社 Beijing: Higher education Press, 90.

Lin Ling 林铃（2009）．卡特福德翻译转换模式下的翻译过程研究[J] A Study on the Translation Process under Catford's Translation Transformation Model．外语教育与教学 Foreign Language Teaching and Learning，5：74-75，82．

Mao Jingjing 毛菁菁(2015). 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J] The Application of Translation Shift Theory in C- E Translation -- Taking the English Version of Mo Yan's Red Sorghum as an Example. 兰州教育学院学报 Journal of Lanzhou Institute of Education, 3: 145-146.

Monday J(2006). Introducing Translation Studies [M]. London: Routledge.

Mu Lei 穆雷 (1990)．评卡特福德的《翻译的语言学理论》[J] On Catford‘s A Linguistic Theory of Translation. 外语教学 Foreign Language Teaching，2：37-42．

Pan Yue & Lei Ge 潘岳、雷格 (1996). 宠儿[M] Beloved. 北京：中国文学出版社 Beijing:Chinese Literature Press, 3-245.

Vinay J P, Darbelnet J (1958). Translation and activism[M]. Paris: Didier.

Zhong Jingyao 仲晶瑶(2003). 从动词特性看英汉介词[J] Prepositions in English and Chinese from the Perspective of Verb Characteristics. 黑龙江教育学院学报 Journal of Heilongjiang Institute of Education , 3: 84-85.

Translation Theories Applied to Literary Translations

2021-12-15T13:20:51Z

Fu Hongyan: /* 付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance. */

Theor App Lit EN 2

2021-12-14T07:31:10Z

Fu Hongyan: Created page with "==摘要== 《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和..."

==摘要==
《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。
==关键词==
“信达雅”；翻译对比；口语文学

==Abstract==
The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Cheng Shi and Zhang Wanli.
==Key Words==
“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature

==Introduction==
===Introduction to Yan fu===a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

===Introduction to The Adventure of Huckleberry Finn===
In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to reflect social life and portray characters, writers must employ the language used by all social classes. The language style must be appropriate to the ideas he expresses and to the characters he portrays, in order to vividly and realistically reflect their personalities.There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）

==The key points of translation==
The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua is the definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality. Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)

==The main characteristics of the book==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.
Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77)
In this paper, we use some excerpts from Chapter 16 of the original work as examples to compare in detail the translation techniques and effects of the two translations, based on the theoretical principle of translating with faith and elegance. In this chapter, Huck and Jim miss their destination in Cairo because they do not know the way, and Huck cleverly tricks two white men who are in pursuit of black slaves. The conflict within Huck’s heart is vividly and carefully portrayed in his attitude toward Jim.
==Quated examples==
===Excerpt 1===
…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that.(Twain 1944, 147)
Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。(Zhang 1984, 97)
Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。(Cheng 1988, 99)
This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.(Cui 2019, 79-80)
===Excerpt2===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 195)
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 149)
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 153)
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father’s illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 80)
===Excerpt3===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 205)
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 208)
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 213)
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 82)
===Excerpt4===
We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still. (Twain 1944, 303)
Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。(Zhang 1984, 296)
Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。(Cheng 1988, 291)
When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.(Cui 2019, 82)

==Conclusion==
There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.(Chen 1992, 61)
==Reference==
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Rubinstein, Annette T. American literature: Root and Flower, Significant Poets,
Tylter, Alexander Fraser. Essay on the Principle of Translation. Beijing: Foreign Language Teaching and Research Press, 2007
Twain Mark. The Adventure of Huckleberry Finn. Beijing: Foreign Language Press, 1944
Chen Fukang陈福康(1992). 《中国译学理论史稿》History of Chinese Translation Theory. 上海：上海外语教育出版社，Shanghai Education Press
Cheng Shi成时(1988). 《赫克尔贝利·费恩历险记》The Adventure of Huckleberry Finn. 北京：人民出版社, People’s Publishing House.
Cui Yonglu崔永禄(2019). 《文学翻译佳作对比赏析》A Comparative Study of Literary Translation. 天津，南开大学出版社, Nankai University Press.
Wang Zhihong王志宏.(1999) 重释“信达雅”Reinterpretation of Faithfulness, Expressiveness and Elegance, 东方中心出版社, Oriental Center Press.
Zhang Wanli张万里(1984).《哈克贝利·费恩历险记》The Adventure of Huckleberry Finn. 上海：上海文学出版社, Shanghai Literature Press.

Translation Theories Applied to Literary Translations

2021-12-14T07:19:14Z

Fu Hongyan:

Translation Theories Applied to Literary Translations

2021-12-14T00:57:13Z

Fu Hongyan: /* 付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance. */

'''Translation Theories Applied to Literary Translations'''

[[Translation Theories Applied to Literary Translations|Overview Page of Translation Theories Applied to Literary Translations]]

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=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=
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===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved''(潘岳、雷格，1996）from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel ''Beloved'' and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically.

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation (Vinay, 1958, 46). In this regard, it is the basis for the theory of translation transformation.

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965, 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (穆雷, 1990, 37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005, 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator.

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965, 23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation" (Catford, 1965, 77), such as the change of word order, which does not go beyond the grammatical level of the sentence.

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item” (Catford, 1965, 78). A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses.

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL(Catford, 1965, 79). As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts.

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965, 80). Intra-system Shifts are used for situations where the shifts occur internally (林玲，2009，74-78，82).

====Feasibility====
In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts (毛菁菁，2015，145-146). However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future.

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.

=====Tense and Aspects Shifts=====

Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====
In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(毛菁菁, 2015, 145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese (连淑能，1993，90). There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used.

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

Example 9

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

ST9: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT9: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated (仲晶瑶，2003，84-85). But the most common way is to translate prepositions into verbs.

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''
Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====
According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation.

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====
After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====
The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===
[1]潘岳、雷格. 宠儿[M]. 北京：中国文学出版社，1996.

[2] Vinay J P, Darbelnet J. Translation and activism[M]. Paris: Didier, 1958.

[3] Catford J C. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965: 85－91.

[4] 穆雷．评卡特福德的《翻译的语言学理论》[J]．外语教学，1990(02)：37-42．

[5] Halliday M A. On Grammer[M]. London: Continuum International Publishing, 2005.

[6] 林铃．卡特福德翻译转换模式下的翻译过程研究[J]．语文学刊(外语教育与教学) ，2009(05)：74-75，82．

[7] 毛菁菁. 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J]. 兰州教育学院学报, 2015, 31(3): 145-146.

[7] 连淑能. 英汉对比研究[M]. 北京: 高等教育出版社, 1993: 90.

[8] 仲晶瑶. 从动词特性看英汉介词[J]. 黑龙江教育学院学报, 2003,(3): 84-85.

=付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
Fu Hongyan，付红岩，Hunan Normal University,China
==abstract==
The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Zhang Yousong, Chang Jian and Zhang Wanli.

==key words==
“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature
==摘要==
《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。
==关键词==
“信达雅”；翻译对比；口语文学

==Introduction==
===Introduction to Yan Fu===

Yan fu, a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

===Introduction to The Adventure of Huckleberry Finn===

In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to reflect social life and portray characters, writers must employ the language used by all social classes. The language style must be appropriate to the ideas he expresses and to the characters he portrays, in order to vividly and realistically reflect their personalities.There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）

== The key points of translation ==
The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua is the definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality. Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)

==The main characters of the context==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77)

==Further comparative analysis==
=== excerpt 1===
1.…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that.(Twain 1944, 147)
Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。(Zhang 1984, 97)
Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。(Cheng 1988, 99)
This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.(Cui 2019, 79-80)

===excerpt2===

2.‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 195)
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 149)
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 153)
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father’s illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 80)

===excerpt3===

3.‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 205)
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 208)
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 213)
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 82)

===excerpt 4===

4.We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still. (Twain 1944, 303)
Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。(Zhang 1984, 296)
Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。(Cheng 1988, 291)
When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.(Cui 2019, 82)

==Conclusion==

There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.(Chen 1992, 61)

==Reference==
Cuddon, J. A. A Dictionary of Literary Terms. Chatham: W&J Mackay Limited, 1979.663
Rubinstein, Annette T. American literature: Root and Flower, Significant Poets,
Tylter, Alexander Fraser. Essay on the Principle of Translation. Beijing: Foreign Language Teaching and Research Press, 2007
Twain Mark. The Adventure of Huckleberry Finn. Beijing: Foreign Language Press, 1944
Chen Fukang陈福康(1992). 《中国译学理论史稿》History of Chinese Translation Theory. 上海：上海外语教育出版社，Shanghai Education Press
Cheng Shi成时(1988). 《赫克尔贝利·费恩历险记》The Adventure of Huckleberry Finn. 北京：人民出版社, People’s Publishing House.
Cui Yonglu崔永禄(2019). 《文学翻译佳作对比赏析》A Comparative Study of Literary Translation. 天津，南开大学出版社, Nankai University Press.
Wang Zhihong王志宏.(1999) 重释“信达雅”Reinterpretation of Faithfulness, Expressiveness and Elegance, 东方中心出版社, Oriental Center Press.
Zhang Wanli张万里(1984).《哈克贝利·费恩历险记》The Adventure of Huckleberry Finn. 上海：上海文学出版社, Shanghai Literature Press.

=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
[[Theor_App_Lit_EN_3]]

=6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例）=

= Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆
=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
=1.1 Research Background=
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

=1.2 Research Significance=
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
=2.1 Studies of Creative Treason Theory at Home and Abroad=
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

=2.2 Studies of Bian Cheng at Home and Abroad=
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
=3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

=3.2 Significance of Creative Treason=
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
=4.1 Bian Cheng and its Author Shen Congwen =
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

=4.2 English Versions of Bian Cheng=
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

=5.1 Personalized Translation=
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
=5.1.1 Domestication=
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

=5.1.2 Foreignization=
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

=5.1.3 Free Translation=
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

=5.2 Intentional Mistranslation and Omission=
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

=5.2.1 Mistranslation=
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

=5.2.2 Omission=
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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= 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =

===摘要===
女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。

===关键词===
女性主义翻译理论；《红与黑》；翻译策略；司汤达

===Abstract===
Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on ''Le Rouge et le Noir'' mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s ''Le Rouge et le Noir'' as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.

===Key words===
Feminist translation theory;Translation theory;''Le Rouge et le Noir'';Stendhal

===Introduction===
Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in ''Le Rouge et le Noir''. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of ''Le Rouge et le Noir'' from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.

====Research Background====
Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.

Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.

====Significance of the Research====
Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.

====About the Translators and their Chinese Translation Versions====
''Le Rouge et le Noir'' as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel ''Le Rouge et le Noir'' occupies a very important position in the history of Chinese translation.
Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of ''Le Rouge et le Noir'' was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that ''Le Rouge et le Noir'' is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: ''Le Rouge et le Noir'' by Mr. Zheng Kelu (published by Commercial Printing House) and ''Le Rouge et le Noir'' by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.

Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's ''Selected Preface to French Short Stories'' won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and ''History of French Literature'' (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .

Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of ''The Complete Works of Balzac and Memoirs of De Gaulle''. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as ''Le Rouge et le Noir''. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?

===Theoretical Framework===
Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.

====Origin and Development of Feministe Translation Theory====
With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.

====Strategies of Feminist Translation Theory====
In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .

“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.

“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）

===Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective===
''Le Rouge et le Noir'' is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.

====Footnoting====
“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.

Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）

Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。

① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）

Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.

Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”

①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)

Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.

Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。

①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)

Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）

Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。

①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）

The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions.
“Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.

====Supplementing====
"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.

Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)

Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）

Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）

Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.

Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.

Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）

Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）

This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.

Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.

Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）

Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）

Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.

Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .

Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）

Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）

In the novel ''Le Rouge et le Noir'', Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.

Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.

In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."

====Hijacking====
Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.

===Conclusion===
Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.

====Major Findings of the Study====
Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）

All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.

====Limitations of the Study====
The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.

===References===
[1]陈颖. 女性主义翻译理论及其在中国的影响[D].福建师范大学,2008年4月

[2]哥校琴.女性主义翻译之本质[J].外语研究,2003(6)

[3]耿强.西方女性主义翻译理论评述[J].西南科技大学学报（哲学社会科学版），2004（03）

[4]蒋骁华.女性主义对翻译理论的影响[J].中国翻译，2004（04）

[5]杨朝燕，刘延秀.女性主义翻译观的启示与反思[J].北京航空航天大学学报，2007(02)

[6]周建军，张顺生.当代法国文学翻译家郑克鲁学术思想研究[J].英语广场,2019(10)

[7]杨公建.《红与黑》在中国的影响及汉译研究[J].短篇小说(原创版),2013(11) :91-92.

[8]《红与黑》，（法）司汤达著，罗旭译，上海文艺出版社，2007

[9]《红与黑》，（法）司汤达著，郑克鲁译，北京：商务印刷馆出版，2018

[10]李晨. 女性主义翻译国内研究综述[J]. 文教资料，2011

[11]Babara Godard, Therorizing Feminist Discourse/Translation[A], Susan Bassnett and Andre Lefevere, Translation, Historu&Culture[C],London,Cassell,1990

[12]Stendhal，le rouge et le noir[M], édition présentée, annotée et commentée par Catherine de La Hosserqye, Paris:Larousse,2008.

[13]Flotow, Louise Von. 2004. Translatuon and Gender: Taranslating in the ‘Era of Feminism’[M]. Shanghai Foreign Language Educaton Press: 29.

[14]Lefevere, A. Translation Rewriting, and the Manipulation of Literary Fame[M]. London and New York: Routeledg, 2016.

[15]Butler, J. Gender Trouble: Feminism and the Subversion of Identity[M]. New York: Routeledge, 1999.

Translation Theories Applied to Literary Translations

2021-12-14T00:55:58Z

Fu Hongyan: /* Conclusion */

'''Translation Theories Applied to Literary Translations'''

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=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=
[[Theor_App_Lit_EN_1]]

===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved''(潘岳、雷格，1996）from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel ''Beloved'' and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically.

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation (Vinay, 1958, 46). In this regard, it is the basis for the theory of translation transformation.

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965, 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (穆雷, 1990, 37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005, 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator.

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965, 23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation" (Catford, 1965, 77), such as the change of word order, which does not go beyond the grammatical level of the sentence.

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item” (Catford, 1965, 78). A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses.

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL(Catford, 1965, 79). As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts.

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965, 80). Intra-system Shifts are used for situations where the shifts occur internally (林玲，2009，74-78，82).

====Feasibility====
In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts (毛菁菁，2015，145-146). However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future.

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.

=====Tense and Aspects Shifts=====

Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====
In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(毛菁菁, 2015, 145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese (连淑能，1993，90). There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used.

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

Example 9

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

ST9: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT9: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated (仲晶瑶，2003，84-85). But the most common way is to translate prepositions into verbs.

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''
Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====
According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation.

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====
After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====
The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

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=付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
Fu Hongyan，付红岩，Hunan Normal University,China
==abstract==
The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Zhang Yousong, Chang Jian and Zhang Wanli.

==key words==
“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature
==摘要==
《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。
==关键词==
“信达雅”；翻译对比；口语文学

==Introduction==
===Introduction to Yan Fu===

Yan fu, a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

===Introduction to The Adventure of Huckleberry Finn===

In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to reflect social life and portray characters, writers must employ the language used by all social classes. The language style must be appropriate to the ideas he expresses and to the characters he portrays, in order to vividly and realistically reflect their personalities.There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）

== The key points of translation ==
The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua is the definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality. Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)

==The main characters of the context==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77)

==Further comparative analysis==
=== excerpt 1===
1.…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that.(Twain 1944, 147)
Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。(Zhang 1984, 97)
Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。(Cheng 1988, 99)
This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.(Cui 2019, 79-80)

===excerpt2===

2.‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 195)
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 149)
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 153)
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father’s illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 80)

===excerpt3===

3.‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 205)
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 208)
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 213)
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 82)

===excerpt 4===

4.We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still. (Twain 1944, 303)
Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。(Zhang 1984, 296)
Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。(Cheng 1988, 291)
When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.(Cui 2019, 82)

==Conclusion==

There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.(Chen 1992, 61)

=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
[[Theor_App_Lit_EN_3]]

=6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例）=

= Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆
=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
=1.1 Research Background=
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

=1.2 Research Significance=
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
=2.1 Studies of Creative Treason Theory at Home and Abroad=
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

=2.2 Studies of Bian Cheng at Home and Abroad=
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
=3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

=3.2 Significance of Creative Treason=
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
=4.1 Bian Cheng and its Author Shen Congwen =
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

=4.2 English Versions of Bian Cheng=
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

=5.1 Personalized Translation=
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
=5.1.1 Domestication=
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

=5.1.2 Foreignization=
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

=5.1.3 Free Translation=
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

=5.2 Intentional Mistranslation and Omission=
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

=5.2.1 Mistranslation=
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

=5.2.2 Omission=
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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= 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =

===摘要===
女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。

===关键词===
女性主义翻译理论；《红与黑》；翻译策略；司汤达

===Abstract===
Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on ''Le Rouge et le Noir'' mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s ''Le Rouge et le Noir'' as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.

===Key words===
Feminist translation theory;Translation theory;''Le Rouge et le Noir'';Stendhal

===Introduction===
Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in ''Le Rouge et le Noir''. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of ''Le Rouge et le Noir'' from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.

====Research Background====
Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.

Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.

====Significance of the Research====
Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.

====About the Translators and their Chinese Translation Versions====
''Le Rouge et le Noir'' as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel ''Le Rouge et le Noir'' occupies a very important position in the history of Chinese translation.
Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of ''Le Rouge et le Noir'' was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that ''Le Rouge et le Noir'' is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: ''Le Rouge et le Noir'' by Mr. Zheng Kelu (published by Commercial Printing House) and ''Le Rouge et le Noir'' by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.

Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's ''Selected Preface to French Short Stories'' won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and ''History of French Literature'' (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .

Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of ''The Complete Works of Balzac and Memoirs of De Gaulle''. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as ''Le Rouge et le Noir''. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?

===Theoretical Framework===
Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.

====Origin and Development of Feministe Translation Theory====
With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.

====Strategies of Feminist Translation Theory====
In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .

“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.

“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）

===Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective===
''Le Rouge et le Noir'' is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.

====Footnoting====
“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.

Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）

Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。

① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）

Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.

Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”

①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)

Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.

Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。

①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)

Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）

Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。

①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）

The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions.
“Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.

====Supplementing====
"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.

Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)

Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）

Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）

Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.

Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.

Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）

Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）

This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.

Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.

Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）

Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）

Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.

Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .

Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）

Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）

In the novel ''Le Rouge et le Noir'', Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.

Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.

In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."

====Hijacking====
Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.

===Conclusion===
Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.

====Major Findings of the Study====
Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）

All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.

====Limitations of the Study====
The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.

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[12]Stendhal，le rouge et le noir[M], édition présentée, annotée et commentée par Catherine de La Hosserqye, Paris:Larousse,2008.

[13]Flotow, Louise Von. 2004. Translatuon and Gender: Taranslating in the ‘Era of Feminism’[M]. Shanghai Foreign Language Educaton Press: 29.

[14]Lefevere, A. Translation Rewriting, and the Manipulation of Literary Fame[M]. London and New York: Routeledg, 2016.

[15]Butler, J. Gender Trouble: Feminism and the Subversion of Identity[M]. New York: Routeledge, 1999.

Translation Theories Applied to Literary Translations

2021-12-14T00:53:14Z

Fu Hongyan: /* Further comparative analysis */

'''Translation Theories Applied to Literary Translations'''

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=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=
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===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved''(潘岳、雷格，1996）from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel ''Beloved'' and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically.

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation (Vinay, 1958, 46). In this regard, it is the basis for the theory of translation transformation.

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965, 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (穆雷, 1990, 37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005, 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator.

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965, 23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation" (Catford, 1965, 77), such as the change of word order, which does not go beyond the grammatical level of the sentence.

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item” (Catford, 1965, 78). A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses.

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL(Catford, 1965, 79). As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts.

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965, 80). Intra-system Shifts are used for situations where the shifts occur internally (林玲，2009，74-78，82).

====Feasibility====
In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts (毛菁菁，2015，145-146). However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future.

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.

=====Tense and Aspects Shifts=====

Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====
In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(毛菁菁, 2015, 145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese (连淑能，1993，90). There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used.

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

Example 9

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

ST9: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT9: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated (仲晶瑶，2003，84-85). But the most common way is to translate prepositions into verbs.

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''
Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====
According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation.

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====
After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====
The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===
[1]潘岳、雷格. 宠儿[M]. 北京：中国文学出版社，1996.

[2] Vinay J P, Darbelnet J. Translation and activism[M]. Paris: Didier, 1958.

[3] Catford J C. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965: 85－91.

[4] 穆雷．评卡特福德的《翻译的语言学理论》[J]．外语教学，1990(02)：37-42．

[5] Halliday M A. On Grammer[M]. London: Continuum International Publishing, 2005.

[6] 林铃．卡特福德翻译转换模式下的翻译过程研究[J]．语文学刊(外语教育与教学) ，2009(05)：74-75，82．

[7] 毛菁菁. 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J]. 兰州教育学院学报, 2015, 31(3): 145-146.

[7] 连淑能. 英汉对比研究[M]. 北京: 高等教育出版社, 1993: 90.

[8] 仲晶瑶. 从动词特性看英汉介词[J]. 黑龙江教育学院学报, 2003,(3): 84-85.

=付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
Fu Hongyan，付红岩，Hunan Normal University,China
==abstract==
The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Zhang Yousong, Chang Jian and Zhang Wanli.

==key words==
“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature
==摘要==
《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。
==关键词==
“信达雅”；翻译对比；口语文学

==Introduction==
===Introduction to Yan Fu===

Yan fu, a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

===Introduction to The Adventure of Huckleberry Finn===

In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to reflect social life and portray characters, writers must employ the language used by all social classes. The language style must be appropriate to the ideas he expresses and to the characters he portrays, in order to vividly and realistically reflect their personalities.There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）

== The key points of translation ==
The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua is the definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality. Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)

==The main characters of the context==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77)

==Further comparative analysis==
=== excerpt 1===
1.…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that.(Twain 1944, 147)
Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。(Zhang 1984, 97)
Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。(Cheng 1988, 99)
This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.(Cui 2019, 79-80)

===excerpt2===

2.‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 195)
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 149)
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 153)
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father’s illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 80)

===excerpt3===

3.‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’(Twain 1944, 205)
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”(Zhang 1984, 208)
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”(Cheng 1988, 213)
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.(Cui 2019, 82)

===excerpt 4===

4.We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still. (Twain 1944, 303)
Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。(Zhang 1984, 296)
Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。(Cheng 1988, 291)
When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.(Cui 2019, 82)

==Conclusion==
There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.

Reference:

Cuddon, J. A(1997). A Dictionary of Literary Terms. Chatham: W&J Mackay Limited.
Rubinstein, Annette T. American literature: Root and Flower, Significant Poets.
Tylter, Alexander Fraser(2007). Essay on the Principle of Translation. Beijing: Foreign Language Teaching and Research Press.
Twain Mark(1944). The Adventure of Huckleberry Finn. Beijing: Foreign Language Press.
Chen Fukang陈福康(1992). 《中国译学理论史稿》History of Chinese Translation Theory. 上海：上海外语教育出版社，Shanghai Education Press
Cheng Shi成时(1988). 《赫克尔贝利·费恩历险记》The Adventure of Huckleberry Finn. 北京：人民出版社, People’s Publishing House.
Cui Yonglu崔永禄(2019). 《文学翻译佳作对比赏析》A Comparative Study of Literary Translation. 天津，南开大学出版社, Nankai University Press.
Wang Zhihong王志宏.(1999) 重释“信达雅”Reinterpretation of Faithfulness, Expressiveness and Elegance, 东方中心出版社, Oriental Center Press.
Zhang Wanli张万里(1984).《哈克贝利·费恩历险记》The Adventure of Huckleberry Finn. 上海：上海文学出版社, Shanghai Literature Press.

=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
[[Theor_App_Lit_EN_3]]

=6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例）=

= Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆
=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
=1.1 Research Background=
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

=1.2 Research Significance=
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
=2.1 Studies of Creative Treason Theory at Home and Abroad=
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

=2.2 Studies of Bian Cheng at Home and Abroad=
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
=3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

=3.2 Significance of Creative Treason=
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
=4.1 Bian Cheng and its Author Shen Congwen =
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

=4.2 English Versions of Bian Cheng=
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

=5.1 Personalized Translation=
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
=5.1.1 Domestication=
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

=5.1.2 Foreignization=
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

=5.1.3 Free Translation=
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

=5.2 Intentional Mistranslation and Omission=
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

=5.2.1 Mistranslation=
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

=5.2.2 Omission=
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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= 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =

===摘要===
女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。

===关键词===
女性主义翻译理论；《红与黑》；翻译策略；司汤达

===Abstract===
Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on ''Le Rouge et le Noir'' mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s ''Le Rouge et le Noir'' as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.

===Key words===
Feminist translation theory;Translation theory;''Le Rouge et le Noir'';Stendhal

===Introduction===
Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in ''Le Rouge et le Noir''. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of ''Le Rouge et le Noir'' from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.

====Research Background====
Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.

Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.

====Significance of the Research====
Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.

====About the Translators and their Chinese Translation Versions====
''Le Rouge et le Noir'' as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel ''Le Rouge et le Noir'' occupies a very important position in the history of Chinese translation.
Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of ''Le Rouge et le Noir'' was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that ''Le Rouge et le Noir'' is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: ''Le Rouge et le Noir'' by Mr. Zheng Kelu (published by Commercial Printing House) and ''Le Rouge et le Noir'' by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.

Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's ''Selected Preface to French Short Stories'' won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and ''History of French Literature'' (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .

Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of ''The Complete Works of Balzac and Memoirs of De Gaulle''. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as ''Le Rouge et le Noir''. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?

===Theoretical Framework===
Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.

====Origin and Development of Feministe Translation Theory====
With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.

====Strategies of Feminist Translation Theory====
In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .

“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.

“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）

===Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective===
''Le Rouge et le Noir'' is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.

====Footnoting====
“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.

Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）

Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。

① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）

Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.

Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”

①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)

Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.

Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。

①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)

Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）

Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。

①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）

The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions.
“Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.

====Supplementing====
"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.

Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)

Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）

Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）

Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.

Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.

Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）

Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）

This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.

Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.

Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）

Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）

Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.

Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .

Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）

Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）

In the novel ''Le Rouge et le Noir'', Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.

Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.

In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."

====Hijacking====
Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.

===Conclusion===
Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.

====Major Findings of the Study====
Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）

All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.

====Limitations of the Study====
The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.

===References===
[1]陈颖. 女性主义翻译理论及其在中国的影响[D].福建师范大学,2008年4月

[2]哥校琴.女性主义翻译之本质[J].外语研究,2003(6)

[3]耿强.西方女性主义翻译理论评述[J].西南科技大学学报（哲学社会科学版），2004（03）

[4]蒋骁华.女性主义对翻译理论的影响[J].中国翻译，2004（04）

[5]杨朝燕，刘延秀.女性主义翻译观的启示与反思[J].北京航空航天大学学报，2007(02)

[6]周建军，张顺生.当代法国文学翻译家郑克鲁学术思想研究[J].英语广场,2019(10)

[7]杨公建.《红与黑》在中国的影响及汉译研究[J].短篇小说(原创版),2013(11) :91-92.

[8]《红与黑》，（法）司汤达著，罗旭译，上海文艺出版社，2007

[9]《红与黑》，（法）司汤达著，郑克鲁译，北京：商务印刷馆出版，2018

[10]李晨. 女性主义翻译国内研究综述[J]. 文教资料，2011

[11]Babara Godard, Therorizing Feminist Discourse/Translation[A], Susan Bassnett and Andre Lefevere, Translation, Historu&Culture[C],London,Cassell,1990

[12]Stendhal，le rouge et le noir[M], édition présentée, annotée et commentée par Catherine de La Hosserqye, Paris:Larousse,2008.

[13]Flotow, Louise Von. 2004. Translatuon and Gender: Taranslating in the ‘Era of Feminism’[M]. Shanghai Foreign Language Educaton Press: 29.

[14]Lefevere, A. Translation Rewriting, and the Manipulation of Literary Fame[M]. London and New York: Routeledg, 2016.

[15]Butler, J. Gender Trouble: Feminism and the Subversion of Identity[M]. New York: Routeledge, 1999.

Translation Theories Applied to Literary Translations

2021-12-14T00:51:05Z

Fu Hongyan: /* The main characters of the context */

'''Translation Theories Applied to Literary Translations'''

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=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=
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===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved''(潘岳、雷格，1996）from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel ''Beloved'' and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically.

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation (Vinay, 1958, 46). In this regard, it is the basis for the theory of translation transformation.

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965, 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (穆雷, 1990, 37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005, 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator.

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965, 23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation" (Catford, 1965, 77), such as the change of word order, which does not go beyond the grammatical level of the sentence.

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item” (Catford, 1965, 78). A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses.

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL(Catford, 1965, 79). As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts.

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965, 80). Intra-system Shifts are used for situations where the shifts occur internally (林玲，2009，74-78，82).

====Feasibility====
In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts (毛菁菁，2015，145-146). However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future.

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.

=====Tense and Aspects Shifts=====

Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====
In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(毛菁菁, 2015, 145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese (连淑能，1993，90). There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used.

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

Example 9

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

ST9: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT9: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated (仲晶瑶，2003，84-85). But the most common way is to translate prepositions into verbs.

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''
Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====
According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation.

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====
After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====
The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

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=付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
Fu Hongyan，付红岩，Hunan Normal University,China
==abstract==
The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Zhang Yousong, Chang Jian and Zhang Wanli.

==key words==
“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature
==摘要==
《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。
==关键词==
“信达雅”；翻译对比；口语文学

==Introduction==
===Introduction to Yan Fu===

Yan fu, a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

===Introduction to The Adventure of Huckleberry Finn===

In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to reflect social life and portray characters, writers must employ the language used by all social classes. The language style must be appropriate to the ideas he expresses and to the characters he portrays, in order to vividly and realistically reflect their personalities.There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）

== The key points of translation ==
The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua is the definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality. Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)

==The main characters of the context==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77)

==Further comparative analysis==
=== excerpt 1===
…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that.
Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。
Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。
This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.
===excerpt2===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.

===excerpt3===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.
===excerpt 4===
We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still.
Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。
Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。
When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.
==Conclusion==
There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.

Reference:

Cuddon, J. A(1997). A Dictionary of Literary Terms. Chatham: W&J Mackay Limited.
Rubinstein, Annette T. American literature: Root and Flower, Significant Poets.
Tylter, Alexander Fraser(2007). Essay on the Principle of Translation. Beijing: Foreign Language Teaching and Research Press.
Twain Mark(1944). The Adventure of Huckleberry Finn. Beijing: Foreign Language Press.
Chen Fukang陈福康(1992). 《中国译学理论史稿》History of Chinese Translation Theory. 上海：上海外语教育出版社，Shanghai Education Press
Cheng Shi成时(1988). 《赫克尔贝利·费恩历险记》The Adventure of Huckleberry Finn. 北京：人民出版社, People’s Publishing House.
Cui Yonglu崔永禄(2019). 《文学翻译佳作对比赏析》A Comparative Study of Literary Translation. 天津，南开大学出版社, Nankai University Press.
Wang Zhihong王志宏.(1999) 重释“信达雅”Reinterpretation of Faithfulness, Expressiveness and Elegance, 东方中心出版社, Oriental Center Press.
Zhang Wanli张万里(1984).《哈克贝利·费恩历险记》The Adventure of Huckleberry Finn. 上海：上海文学出版社, Shanghai Literature Press.

=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
[[Theor_App_Lit_EN_3]]

=6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例）=

= Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆
=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
=1.1 Research Background=
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

=1.2 Research Significance=
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
=2.1 Studies of Creative Treason Theory at Home and Abroad=
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

=2.2 Studies of Bian Cheng at Home and Abroad=
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
=3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

=3.2 Significance of Creative Treason=
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
=4.1 Bian Cheng and its Author Shen Congwen =
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

=4.2 English Versions of Bian Cheng=
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

=5.1 Personalized Translation=
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
=5.1.1 Domestication=
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

=5.1.2 Foreignization=
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

=5.1.3 Free Translation=
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

=5.2 Intentional Mistranslation and Omission=
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

=5.2.1 Mistranslation=
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

=5.2.2 Omission=
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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= 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =

===摘要===
女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。

===关键词===
女性主义翻译理论；《红与黑》；翻译策略；司汤达

===Abstract===
Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on ''Le Rouge et le Noir'' mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s ''Le Rouge et le Noir'' as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.

===Key words===
Feminist translation theory;Translation theory;''Le Rouge et le Noir'';Stendhal

===Introduction===
Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in ''Le Rouge et le Noir''. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of ''Le Rouge et le Noir'' from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.

====Research Background====
Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.

Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.

====Significance of the Research====
Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.

====About the Translators and their Chinese Translation Versions====
''Le Rouge et le Noir'' as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel ''Le Rouge et le Noir'' occupies a very important position in the history of Chinese translation.
Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of ''Le Rouge et le Noir'' was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that ''Le Rouge et le Noir'' is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: ''Le Rouge et le Noir'' by Mr. Zheng Kelu (published by Commercial Printing House) and ''Le Rouge et le Noir'' by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.

Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's ''Selected Preface to French Short Stories'' won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and ''History of French Literature'' (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .

Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of ''The Complete Works of Balzac and Memoirs of De Gaulle''. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as ''Le Rouge et le Noir''. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?

===Theoretical Framework===
Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.

====Origin and Development of Feministe Translation Theory====
With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.

====Strategies of Feminist Translation Theory====
In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .

“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.

“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）

===Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective===
''Le Rouge et le Noir'' is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.

====Footnoting====
“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.

Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）

Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。

① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）

Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.

Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”

①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)

Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.

Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。

①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)

Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）

Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。

①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）

The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions.
“Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.

====Supplementing====
"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.

Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)

Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）

Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）

Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.

Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.

Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）

Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）

This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.

Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.

Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）

Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）

Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.

Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .

Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）

Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）

In the novel ''Le Rouge et le Noir'', Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.

Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.

In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."

====Hijacking====
Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.

===Conclusion===
Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.

====Major Findings of the Study====
Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）

All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.

====Limitations of the Study====
The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.

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[3]耿强.西方女性主义翻译理论评述[J].西南科技大学学报（哲学社会科学版），2004（03）

[4]蒋骁华.女性主义对翻译理论的影响[J].中国翻译，2004（04）

[5]杨朝燕，刘延秀.女性主义翻译观的启示与反思[J].北京航空航天大学学报，2007(02)

[6]周建军，张顺生.当代法国文学翻译家郑克鲁学术思想研究[J].英语广场,2019(10)

[7]杨公建.《红与黑》在中国的影响及汉译研究[J].短篇小说(原创版),2013(11) :91-92.

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Translation Theories Applied to Literary Translations

2021-12-14T00:49:58Z

Fu Hongyan: /* The key points of translation */

'''Translation Theories Applied to Literary Translations'''

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=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=
[[Theor_App_Lit_EN_1]]

===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved''(潘岳、雷格，1996）from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel ''Beloved'' and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically.

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation (Vinay, 1958, 46). In this regard, it is the basis for the theory of translation transformation.

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965, 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (穆雷, 1990, 37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005, 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator.

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965, 23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation" (Catford, 1965, 77), such as the change of word order, which does not go beyond the grammatical level of the sentence.

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item” (Catford, 1965, 78). A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses.

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL(Catford, 1965, 79). As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts.

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965, 80). Intra-system Shifts are used for situations where the shifts occur internally (林玲，2009，74-78，82).

====Feasibility====
In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts (毛菁菁，2015，145-146). However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future.

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.

=====Tense and Aspects Shifts=====

Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====
In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(毛菁菁, 2015, 145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese (连淑能，1993，90). There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used.

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

Example 9

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

ST9: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT9: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated (仲晶瑶，2003，84-85). But the most common way is to translate prepositions into verbs.

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''
Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====
According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation.

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====
After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====
The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===
[1]潘岳、雷格. 宠儿[M]. 北京：中国文学出版社，1996.

[2] Vinay J P, Darbelnet J. Translation and activism[M]. Paris: Didier, 1958.

[3] Catford J C. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965: 85－91.

[4] 穆雷．评卡特福德的《翻译的语言学理论》[J]．外语教学，1990(02)：37-42．

[5] Halliday M A. On Grammer[M]. London: Continuum International Publishing, 2005.

[6] 林铃．卡特福德翻译转换模式下的翻译过程研究[J]．语文学刊(外语教育与教学) ，2009(05)：74-75，82．

[7] 毛菁菁. 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J]. 兰州教育学院学报, 2015, 31(3): 145-146.

[7] 连淑能. 英汉对比研究[M]. 北京: 高等教育出版社, 1993: 90.

[8] 仲晶瑶. 从动词特性看英汉介词[J]. 黑龙江教育学院学报, 2003,(3): 84-85.

=付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
Fu Hongyan，付红岩，Hunan Normal University,China
==abstract==
The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Zhang Yousong, Chang Jian and Zhang Wanli.

==key words==
“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature
==摘要==
《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。
==关键词==
“信达雅”；翻译对比；口语文学

==Introduction==
===Introduction to Yan Fu===

Yan fu, a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

===Introduction to The Adventure of Huckleberry Finn===

In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to reflect social life and portray characters, writers must employ the language used by all social classes. The language style must be appropriate to the ideas he expresses and to the characters he portrays, in order to vividly and realistically reflect their personalities.There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）

== The key points of translation ==
The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua is the definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality. Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)

==The main characters of the context==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.
Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.
In this paper, we use some excerpts from Chapter 16 of the original work as examples to compare in detail the translation techniques and effects of the two translations, based on the theoretical principle of translating with faith and elegance. In this chapter, Huck and Jim miss their destination in Cairo because they do not know the way, and Huck cleverly tricks two white men who are in pursuit of black slaves. The conflict within Huck’s heart is vividly and carefully portrayed in his attitude toward Jim.
==Further comparative analysis==
=== excerpt 1===
…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that.
Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。
Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。
This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.
===excerpt2===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.

===excerpt3===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.
===excerpt 4===
We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still.
Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。
Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。
When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.
==Conclusion==
There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.

Reference:

Cuddon, J. A(1997). A Dictionary of Literary Terms. Chatham: W&J Mackay Limited.
Rubinstein, Annette T. American literature: Root and Flower, Significant Poets.
Tylter, Alexander Fraser(2007). Essay on the Principle of Translation. Beijing: Foreign Language Teaching and Research Press.
Twain Mark(1944). The Adventure of Huckleberry Finn. Beijing: Foreign Language Press.
Chen Fukang陈福康(1992). 《中国译学理论史稿》History of Chinese Translation Theory. 上海：上海外语教育出版社，Shanghai Education Press
Cheng Shi成时(1988). 《赫克尔贝利·费恩历险记》The Adventure of Huckleberry Finn. 北京：人民出版社, People’s Publishing House.
Cui Yonglu崔永禄(2019). 《文学翻译佳作对比赏析》A Comparative Study of Literary Translation. 天津，南开大学出版社, Nankai University Press.
Wang Zhihong王志宏.(1999) 重释“信达雅”Reinterpretation of Faithfulness, Expressiveness and Elegance, 东方中心出版社, Oriental Center Press.
Zhang Wanli张万里(1984).《哈克贝利·费恩历险记》The Adventure of Huckleberry Finn. 上海：上海文学出版社, Shanghai Literature Press.

=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
[[Theor_App_Lit_EN_3]]

=6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例）=

= Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆
=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
=1.1 Research Background=
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

=1.2 Research Significance=
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
=2.1 Studies of Creative Treason Theory at Home and Abroad=
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

=2.2 Studies of Bian Cheng at Home and Abroad=
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
=3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

=3.2 Significance of Creative Treason=
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
=4.1 Bian Cheng and its Author Shen Congwen =
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

=4.2 English Versions of Bian Cheng=
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

=5.1 Personalized Translation=
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
=5.1.1 Domestication=
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

=5.1.2 Foreignization=
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

=5.1.3 Free Translation=
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

=5.2 Intentional Mistranslation and Omission=
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

=5.2.1 Mistranslation=
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

=5.2.2 Omission=
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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= 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =

===摘要===
女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。

===关键词===
女性主义翻译理论；《红与黑》；翻译策略；司汤达

===Abstract===
Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on ''Le Rouge et le Noir'' mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s ''Le Rouge et le Noir'' as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.

===Key words===
Feminist translation theory;Translation theory;''Le Rouge et le Noir'';Stendhal

===Introduction===
Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in ''Le Rouge et le Noir''. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of ''Le Rouge et le Noir'' from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.

====Research Background====
Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.

Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.

====Significance of the Research====
Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.

====About the Translators and their Chinese Translation Versions====
''Le Rouge et le Noir'' as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel ''Le Rouge et le Noir'' occupies a very important position in the history of Chinese translation.
Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of ''Le Rouge et le Noir'' was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that ''Le Rouge et le Noir'' is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: ''Le Rouge et le Noir'' by Mr. Zheng Kelu (published by Commercial Printing House) and ''Le Rouge et le Noir'' by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.

Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's ''Selected Preface to French Short Stories'' won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and ''History of French Literature'' (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .

Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of ''The Complete Works of Balzac and Memoirs of De Gaulle''. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as ''Le Rouge et le Noir''. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?

===Theoretical Framework===
Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.

====Origin and Development of Feministe Translation Theory====
With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.

====Strategies of Feminist Translation Theory====
In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .

“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.

“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）

===Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective===
''Le Rouge et le Noir'' is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.

====Footnoting====
“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.

Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）

Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。

① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）

Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.

Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”

①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)

Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.

Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。

①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)

Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）

Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。

①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）

The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions.
“Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.

====Supplementing====
"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.

Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)

Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）

Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）

Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.

Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.

Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）

Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）

This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.

Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.

Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）

Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）

Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.

Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .

Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）

Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）

In the novel ''Le Rouge et le Noir'', Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.

Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.

In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."

====Hijacking====
Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.

===Conclusion===
Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.

====Major Findings of the Study====
Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）

All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.

====Limitations of the Study====
The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.

===References===
[1]陈颖. 女性主义翻译理论及其在中国的影响[D].福建师范大学,2008年4月

[2]哥校琴.女性主义翻译之本质[J].外语研究,2003(6)

[3]耿强.西方女性主义翻译理论评述[J].西南科技大学学报（哲学社会科学版），2004（03）

[4]蒋骁华.女性主义对翻译理论的影响[J].中国翻译，2004（04）

[5]杨朝燕，刘延秀.女性主义翻译观的启示与反思[J].北京航空航天大学学报，2007(02)

[6]周建军，张顺生.当代法国文学翻译家郑克鲁学术思想研究[J].英语广场,2019(10)

[7]杨公建.《红与黑》在中国的影响及汉译研究[J].短篇小说(原创版),2013(11) :91-92.

[8]《红与黑》，（法）司汤达著，罗旭译，上海文艺出版社，2007

[9]《红与黑》，（法）司汤达著，郑克鲁译，北京：商务印刷馆出版，2018

[10]李晨. 女性主义翻译国内研究综述[J]. 文教资料，2011

[11]Babara Godard, Therorizing Feminist Discourse/Translation[A], Susan Bassnett and Andre Lefevere, Translation, Historu&Culture[C],London,Cassell,1990

[12]Stendhal，le rouge et le noir[M], édition présentée, annotée et commentée par Catherine de La Hosserqye, Paris:Larousse,2008.

[13]Flotow, Louise Von. 2004. Translatuon and Gender: Taranslating in the ‘Era of Feminism’[M]. Shanghai Foreign Language Educaton Press: 29.

[14]Lefevere, A. Translation Rewriting, and the Manipulation of Literary Fame[M]. London and New York: Routeledg, 2016.

[15]Butler, J. Gender Trouble: Feminism and the Subversion of Identity[M]. New York: Routeledge, 1999.

Translation Theories Applied to Literary Translations

2021-12-14T00:48:37Z

Fu Hongyan: /* Introduction to The Adventure of Huckleberry Finn */

'''Translation Theories Applied to Literary Translations'''

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=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=
[[Theor_App_Lit_EN_1]]

===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved''(潘岳、雷格，1996）from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel ''Beloved'' and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically.

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation (Vinay, 1958, 46). In this regard, it is the basis for the theory of translation transformation.

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965, 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (穆雷, 1990, 37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005, 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator.

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965, 23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation" (Catford, 1965, 77), such as the change of word order, which does not go beyond the grammatical level of the sentence.

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item” (Catford, 1965, 78). A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses.

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL(Catford, 1965, 79). As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts.

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965, 80). Intra-system Shifts are used for situations where the shifts occur internally (林玲，2009，74-78，82).

====Feasibility====
In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts (毛菁菁，2015，145-146). However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future.

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.

=====Tense and Aspects Shifts=====

Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====
In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(毛菁菁, 2015, 145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese (连淑能，1993，90). There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used.

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

Example 9

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

ST9: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT9: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated (仲晶瑶，2003，84-85). But the most common way is to translate prepositions into verbs.

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''
Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====
According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation.

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====
After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====
The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===
[1]潘岳、雷格. 宠儿[M]. 北京：中国文学出版社，1996.

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=付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
Fu Hongyan，付红岩，Hunan Normal University,China
==abstract==
The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Zhang Yousong, Chang Jian and Zhang Wanli.

==key words==
“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature
==摘要==
《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。
==关键词==
“信达雅”；翻译对比；口语文学

==Introduction==
===Introduction to Yan Fu===

Yan fu, a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

===Introduction to The Adventure of Huckleberry Finn===

In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to reflect social life and portray characters, writers must employ the language used by all social classes. The language style must be appropriate to the ideas he expresses and to the characters he portrays, in order to vividly and realistically reflect their personalities.There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）

== The key points of translation ==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77)

==The main characters of the context==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.
Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.
In this paper, we use some excerpts from Chapter 16 of the original work as examples to compare in detail the translation techniques and effects of the two translations, based on the theoretical principle of translating with faith and elegance. In this chapter, Huck and Jim miss their destination in Cairo because they do not know the way, and Huck cleverly tricks two white men who are in pursuit of black slaves. The conflict within Huck’s heart is vividly and carefully portrayed in his attitude toward Jim.
==Further comparative analysis==
=== excerpt 1===
…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that.
Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。
Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。
This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.
===excerpt2===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.

===excerpt3===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.
===excerpt 4===
We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still.
Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。
Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。
When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.
==Conclusion==
There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.

Reference:

Cuddon, J. A(1997). A Dictionary of Literary Terms. Chatham: W&J Mackay Limited.
Rubinstein, Annette T. American literature: Root and Flower, Significant Poets.
Tylter, Alexander Fraser(2007). Essay on the Principle of Translation. Beijing: Foreign Language Teaching and Research Press.
Twain Mark(1944). The Adventure of Huckleberry Finn. Beijing: Foreign Language Press.
Chen Fukang陈福康(1992). 《中国译学理论史稿》History of Chinese Translation Theory. 上海：上海外语教育出版社，Shanghai Education Press
Cheng Shi成时(1988). 《赫克尔贝利·费恩历险记》The Adventure of Huckleberry Finn. 北京：人民出版社, People’s Publishing House.
Cui Yonglu崔永禄(2019). 《文学翻译佳作对比赏析》A Comparative Study of Literary Translation. 天津，南开大学出版社, Nankai University Press.
Wang Zhihong王志宏.(1999) 重释“信达雅”Reinterpretation of Faithfulness, Expressiveness and Elegance, 东方中心出版社, Oriental Center Press.
Zhang Wanli张万里(1984).《哈克贝利·费恩历险记》The Adventure of Huckleberry Finn. 上海：上海文学出版社, Shanghai Literature Press.

=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
[[Theor_App_Lit_EN_3]]

=6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例）=

= Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆
=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
=1.1 Research Background=
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

=1.2 Research Significance=
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
=2.1 Studies of Creative Treason Theory at Home and Abroad=
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

=2.2 Studies of Bian Cheng at Home and Abroad=
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
=3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

=3.2 Significance of Creative Treason=
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
=4.1 Bian Cheng and its Author Shen Congwen =
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

=4.2 English Versions of Bian Cheng=
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

=5.1 Personalized Translation=
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
=5.1.1 Domestication=
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

=5.1.2 Foreignization=
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

=5.1.3 Free Translation=
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

=5.2 Intentional Mistranslation and Omission=
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

=5.2.1 Mistranslation=
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

=5.2.2 Omission=
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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= 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =

===摘要===
女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。

===关键词===
女性主义翻译理论；《红与黑》；翻译策略；司汤达

===Abstract===
Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on ''Le Rouge et le Noir'' mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s ''Le Rouge et le Noir'' as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.

===Key words===
Feminist translation theory;Translation theory;''Le Rouge et le Noir'';Stendhal

===Introduction===
Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in ''Le Rouge et le Noir''. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of ''Le Rouge et le Noir'' from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.

====Research Background====
Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.

Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.

====Significance of the Research====
Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.

====About the Translators and their Chinese Translation Versions====
''Le Rouge et le Noir'' as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel ''Le Rouge et le Noir'' occupies a very important position in the history of Chinese translation.
Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of ''Le Rouge et le Noir'' was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that ''Le Rouge et le Noir'' is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: ''Le Rouge et le Noir'' by Mr. Zheng Kelu (published by Commercial Printing House) and ''Le Rouge et le Noir'' by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.

Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's ''Selected Preface to French Short Stories'' won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and ''History of French Literature'' (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .

Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of ''The Complete Works of Balzac and Memoirs of De Gaulle''. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as ''Le Rouge et le Noir''. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?

===Theoretical Framework===
Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.

====Origin and Development of Feministe Translation Theory====
With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.

====Strategies of Feminist Translation Theory====
In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .

“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.

“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）

===Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective===
''Le Rouge et le Noir'' is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.

====Footnoting====
“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.

Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）

Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。

① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）

Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.

Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”

①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)

Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.

Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。

①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)

Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）

Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。

①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）

The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions.
“Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.

====Supplementing====
"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.

Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)

Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）

Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）

Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.

Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.

Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）

Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）

This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.

Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.

Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）

Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）

Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.

Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .

Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）

Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）

In the novel ''Le Rouge et le Noir'', Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.

Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.

In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."

====Hijacking====
Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.

===Conclusion===
Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.

====Major Findings of the Study====
Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）

All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.

====Limitations of the Study====
The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.

===References===
[1]陈颖. 女性主义翻译理论及其在中国的影响[D].福建师范大学,2008年4月

[2]哥校琴.女性主义翻译之本质[J].外语研究,2003(6)

[3]耿强.西方女性主义翻译理论评述[J].西南科技大学学报（哲学社会科学版），2004（03）

[4]蒋骁华.女性主义对翻译理论的影响[J].中国翻译，2004（04）

[5]杨朝燕，刘延秀.女性主义翻译观的启示与反思[J].北京航空航天大学学报，2007(02)

[6]周建军，张顺生.当代法国文学翻译家郑克鲁学术思想研究[J].英语广场,2019(10)

[7]杨公建.《红与黑》在中国的影响及汉译研究[J].短篇小说(原创版),2013(11) :91-92.

[8]《红与黑》，（法）司汤达著，罗旭译，上海文艺出版社，2007

[9]《红与黑》，（法）司汤达著，郑克鲁译，北京：商务印刷馆出版，2018

[10]李晨. 女性主义翻译国内研究综述[J]. 文教资料，2011

[11]Babara Godard, Therorizing Feminist Discourse/Translation[A], Susan Bassnett and Andre Lefevere, Translation, Historu&Culture[C],London,Cassell,1990

[12]Stendhal，le rouge et le noir[M], édition présentée, annotée et commentée par Catherine de La Hosserqye, Paris:Larousse,2008.

[13]Flotow, Louise Von. 2004. Translatuon and Gender: Taranslating in the ‘Era of Feminism’[M]. Shanghai Foreign Language Educaton Press: 29.

[14]Lefevere, A. Translation Rewriting, and the Manipulation of Literary Fame[M]. London and New York: Routeledg, 2016.

[15]Butler, J. Gender Trouble: Feminism and the Subversion of Identity[M]. New York: Routeledge, 1999.

Translation Theories Applied to Literary Translations

2021-12-14T00:47:28Z

Fu Hongyan: /* The key points of translation */

'''Translation Theories Applied to Literary Translations'''

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=1 周巧: A Case Study on Chinese Translations of Toni Morrison’s Novel ''Beloved'' Based on Catford’s Translation Shifts Theory=
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===摘要===
长篇小说宠儿是美国当代黑人女作家托妮·莫里森独具特色的一部作品。因为这部小说的语言具有黑人英语的典型特征，且塑造的黑人形象非常丰满独特。因此本文以美国著名非裔女作家托妮的《宠儿》的汉译本为语料，从卡特福德翻译转化理论的角度分析宠儿的翻译策略和特点，从而更加了解该作品中爱与自我的主题，也更理解奴隶制下美国黑人的生活状态。

翻译转换理论是翻译学家卡特福德站在语言学的角度解释翻译过程中是从源语到目标语出现形式偏离现象的理论。根据该理论，翻译转换包括两种：一为层次转换，一为范畴转换。其中，层次转换包含两类：（1）数的转换及（2）时态和体的转换；而范畴转换则包含四大类：（1）类别转换、（2）单位转换、（3）结构转换及（4）系统内部转换。以美国非裔小说家托妮.莫里森的小说《宠儿》为例，从词汇、句法方面分析其语料特点，结合卡特福德翻译转换理论探讨在文学翻译过程中采取的转换策略与方法，并分析该理论在文学翻译中的可行性。

===关键词===
翻译转换理论；《宠儿》；黑人英语

===Abstract===
''Beloved'' is a unique novel of Toni Morrison, who is a contemporary African American female writer. Because the language of this novel has the typical characteristics of black English, and the black characters in this novel are very rich and unique. Therefore, based on the Chinese translation of the ''Beloved'' of Toni Morrison, a famous African American female writer, this paper analyzes the translation strategies and characteristics of ''Beloved'' from the perspective of Catford's Translation Shifts Theory, so as to better understand the theme of love and self in the work and the living conditions of black Americans under slavery.

Translation Shifts Theory is a theory that translator Catford explains the phenomenon of formal deviation from the source language to the target language in the process of translation from the perspective of linguistics. According to the theory, Translation Shifts fall into two categories: Level Shifts and Category Shifts. In terms of Level Shifts, it includes the transformation of number, tense and aspect. Category Shifts cover four aspects: (1) Class Shifts, (2) Unit Shifts, (3) Structure Shifts and (4) Intra-system Shifts. Taking ''Beloved'' as an example, this paper analyzes the characteristics of its corpus from the aspects of vocabulary and syntax, and discusses the shift strategies and methods in the process of literary translation combined with Catford's Translation Shifts Theory, thus analyzing its feasibility in the literary translation.

===Key words===
Translation Shift Theory; ''Beloved''; Black English

===Introduction===
The selected text of the translation study is a literary novel written by the African American writer Toni Morrison, which was named ''Beloved'' with the themes of love and self. It mainly talks about Seth, a female slave, who was chased on the way to escape with her daughter. Because she didn't want to see her child become a slave again, she resolutely strangled her young daughter. Eighteen years later, slavery had long been abolished, and the baby girl she killed came back to punish her mother's behavior day and night. This book is full of vivid characters, richly detailed descriptions and passionate emotions. The most important feature of the book is there is a range of slang in Afro-American English, which shows language features and reflects characters’ images.

In order to have a better understanding of ''Beloved'' and Translation Shifts Theory, the author study the Chinese translation of ''Beloved''(潘岳、雷格，1996）from the perspective of Catford’s Translation Shifts Theory. The appearance of Catford’s Translation Shift theory can be traced back to 1950s. Instead of talking about formal equivalence, Catford’s theory stresses meaning transmission. It is the typical reflection of the principle that form is not as important as content. The theory, devoted to two aspects, namely level shifts and category shifts, is becoming one of the most practical and influential theories in the studies about translation shifts. Correspondingly, the author writing this report will probe into the utilization of the translation shifts theory which Catford initiated, particularly, the category shifts in the studying.

The report is structured as follows: the first part is the introduction of information about the source text, the guidance theory of the translation work and the report outline, followed by the second part which focuses on the linguistic features of ''Beloved''. As for the third part, there provides a theory introduction, namely, Catford’s Translation Shifts Theory which covers level shifts and category shifts. The fourth part is the case analysis of ''Beloved'' from the perspectives of this theory. Finally, the report ends with a conclusion, in which the whole report and several deficiencies are briefly reviewed.

===Introduction to ''Beloved''===
In this part, the author will roughly introduce the main content of the novel ''Beloved'' and analyze the linguistic features of the text , laying a solid foundation for the following steps.

====Main Content====
''Beloved'' tells about a black slave named Seth who fled from a Kentucky farm to a Cincinnati farmhouse alone in order to gain freedom. A month later, she was chased by slave owners. For freeing her child from the tragic fate of being a slave, she resolutely cut her throat and buried her. The child who died miserably in the hands of his own mother was named Beloved. Because she killed her children herself, the mother has been hated and rejected by the people in the community and endured the torture of conscience and great loneliness. Beloved returned to the world 18 years later. She turned into a girl, disturbed her mother, and destroyed her mother's stable and warm life.

Based on the life of a small town in Cincinnati, Ohio in 1873, the novel shows the great spiritual crisis left by slavery to American blacks through the story of a young black woman who has been reborn and a black mother who has suffered psychological suffering. It also reveals that slavery still has a strong influence on black people after the abolishment of slavery.

====Linguistic Characteristics====
The selected text used for this report is the literary novel ''Beloved'' and its Chinese Translation by Pan Yue and Lei Ge. This part introduces the linguistic characteristics of the source text from lexis, syntax and discourse specifically.

Language features are determined by the specific group, culture, and context. ''Beloved'', written by an African American Writer who has a totally different writing style from normal American writers. The excerpted text has the following linguistic characteristics:
In the first place, regarding lexis, many words in the novel are common, but the collocation and usage of these words are not. The words used are exaggerated and humorous, involving a large number of slang words, close to life.

Secondly, in terms of syntax, The structure is not rigorous and standard. The omission of be verbs is one of the most prominent features of black English. In addition, double negation is also a common phenomenon, which has obvious characteristics of black English sentence patterns.
Finally, in terms of discourse, this book is in the form of dialogue, very colloquial and close to life, therefore the selected text is very smooth and natural. The plot of the story is complicated, twists and turns, exciting and fascinating.

More specifically, one of the most typical linguistic characteristics of this novel is black English. Black English is a kind of informal language that in novels can reveal different images and reveal the special culture of black English. Therefore, some words and phrases in this novel have their own slang meaning, making the characters rich and vivid.

===Theoretical Framework===

Translation theory guides translation practice as a whole or from a macro perspective. Some translation theories are directly connected with translation practice. In addition, the theory can also be used to guide the criticism and appreciation of the translation. Through the analysis and evaluation of the Chinese versions, we can explore the deep-seated reasons and promote the development of translation practice, which also reflects the promotion of translation theory to practice to some extent. In recent years, more and more scholars have tried to discuss the practical value of shift theory in English-Chinese translation and achieved some results. This paper attempts to use the Translation Shifts Theory to explore the guiding role of shift theory in English-Chinese translation practice through the analysis and study of ''beloved'''s translation strategies.

====About Catford’s Shifts Theory====

Since the 1950s, there has been a tendency for the integration of linguistic methods with translation in such aspects as translation analysis and translation phenomenon classification, based on which many concrete classification methods have been raised. The concept of transformation can be traced back to comparative stylistics of French and English: A Methodology for Translation which was published in 1958 by two Canadian scholars: Jean Darbelnet and Jean Paul Vinay. According to them, among the seven translation techniques and two translation strategies, the "transposition" technique is the rudiment of translation transformation (Vinay, 1958, 46). In this regard, it is the basis for the theory of translation transformation.

J. C. Catford is a famous British translation theorist. He interprets translation from the perspective of modern linguistics and defines translation as "replacing the text material of another language with that of a different language" (Catford, 1965, 10)He regards the pursuit of equivalence as the central issue of translation research and practice, and makes a descriptive study of different language levels of translation. In A Linguistic Theory of Translation published in 1965, he defined the concept of conversion as a deviation from formal correspondence during the conversion between the source and target languages. He also said that "content is more important than form" (穆雷, 1990, 37-42). In fact, Catford borrows the concepts of category and level that were put forward by Halliday (Halliday, 2005, 33-36), then he categorized translation shift as Level Shifts and Category Shifts, offering guidance from a different viewpoint for translation to translator.

=====Introduction to Level Shifts=====

According to Catford, there are four possible levels in language: (i) grammatical level, (ii) lexical level, (iii) morphological level and (iv) phonetic level. By a shift of level, we mean that a SL item at one linguistic level has a TL translation equivalent at a different level. The level shifts are embodied in the mutual transformation of grammar and vocabulary. So it can be said that a level shift would be something that can be expressed by grammar in one language and lexis in another.

=====Introduction to Category Shifts=====

Category Shifts cover four aspects: (1) unit, (2) structure, (3) class and (4) intra-system. Category Shifts include translation without hierarchy and translation with hierarchy. Under the translation without hierarchy which is similar to free translation, there is a hierarchical relationship between the source language and the target language at any proper level. "It is meaningless to talk about category shift unless we assume some degree of formal correspondence between SL and TL"(Catford, 1965, 23). There are four kinds of hierarchical relationships:

Structural Shifts: Structural Shifts refer to the change of language structure at the level of unified grammar in translation. According to Catford, structure shift" occurs in the phonological and graphological translation as well as in total translation" (Catford, 1965, 77), such as the change of word order, which does not go beyond the grammatical level of the sentence.

Class Shifts: It occurs when “the translation equivalent of a SL item is a number of a different class from the original item” (Catford, 1965, 78). A typical example is the change of parts of speech. Therefore, the translator could translate the English words into Chinese phrases or sentences or translate the phrases into clauses.

Unit Shifts: It is also known as rank shift, which means departures from formal corresponding in which the translation equivalent of a unit at one rank in the SL is a unit at a different rank in the TL(Catford, 1965, 79). As for ranks in English, it includes word, morpheme, phrase, sentence and clause. Hence, the shifts between these linguistic units can be called Unit Shifts.

Intra-system Shifts: this kind of transformation refers to the system in which there are basic structural forms for the source and target languages, but in translation, it is necessary to choose target words not corresponding to the source words(Catford, 1965, 80). Intra-system Shifts are used for situations where the shifts occur internally (林玲，2009，74-78，82).

====Feasibility====
In China, the study of translation methods and strategies has been for decades, but few basic studies have been carried out from the lexical, syntactic, and semantic levels to the specific changes or transformations in the process of translation. After consulting a large number of papers on the Internet, the author finds that literary translation practice is mostly guided by Functionalist Translation Theory, Domestication and Foreignization, Communicative Translation Theory and other theories because these theories are analyzable and can be applied to various types of texts. However, Catford's Translation Shift Theory focuses on the transformation below the sentence level, without considering the translation shift of paragraphs and texts (毛菁菁，2015，145-146). However, the author chooses the works of Beloved, written by African American writers. Under the background of the melting pot of culture, African American writers are faced with the difficulties of identity authentication, and the helplessness and necessity of identity reconstruction. In order to reflect this personal emotion and retain the original text as much as possible and achieve translation equivalence between the source and target languages, there must be a shift between translation because of the dramatic differences between English and Chinese. The most systematic theory of translation shift is Catford's theory. This paper capitalizes on Catford's Translation Shift Theory to make an analysis of the English Chinese translation in the novel Beloved, to verify the effectiveness of Catford's Translation Shift Theory in guiding English Chinese translation practice, and further carry forward translation practice-related research in the future.

Catford's Translation Shift Theory is of practical value. His work is the first attempt to expound translation in a general sense. Previously, translation textbooks only touched on some empirical principles and methods. Catford describes a number of translation concepts in a systematic and detailed manner and sets objective criteria for subjective judgment of some previous concepts. Catford also illustrates why it is reasonable to realize translation transformation and equivalence, and points out that the concept of equivalence occupies a central position in translation studies. Equivalence does not mean the complete reproduction of the original language content and information, nor the blind pursuit of "formal equivalence", but "textual equivalence". His comprehensive classification of all kinds of conversions reasonably explains the actual conversions in the process of C-E and E-C translation. Therefore, Catford's Translation Shift Theory is used to analyze the grammatical, syntactic, and semantic levels in this paper.

To sum up, taking Beloved's Chinese translation as the research object, this paper analyzes the translation strategies from the perspective of level shifts and category shifts, and demonstrates the effectiveness of translation shifts theory in literary translation, so as to provide a useful reference for literary translation appreciation and practice.

===The Advantage of Catford’s Translation Shifts Theory Applied in the Chinese Version===

By comparing and analysis of Catford's Translation Shifts Theory, the paper is aimed to analyze the theory of translation shifts which is applied to the Chinese versions of English novels as the language material. According to the analysis of Catford's theory of translation shifts by the Chinese version, the merits of Catford's theory of translation shifts can be probed.

====Level Shifts Applied in the Version====

Level Shifts refer to the conversion of a source language unit at one language level into a target language unit at another language level in the process of translation. More specifically, it refers to the conversion between the grammatical level and the lexical level; in other words, one language is represented by grammar, and when translated into another language, it is represented by vocabulary and vice versa. In the process of level transformation, the exchange of lexical level and grammatical level is particularly common in English Chinese translation. Chinese is a typical analytic language, which uses word order and function words to express grammatical relations instead of inflectional changes. English, as a synthetic language, expresses such categories as number, tense, aspect and gender through grammatical means.

=====Tense and Aspects Shifts=====

Example 1

ST1: As soon as two tiny hand prints appeared in the cake (that was it for Howard). Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill.

TT1: 蛋糕里出现了两个小手印（这个则马上把霍华德逼出了家门）。两个男孩谁也没有等着往下看；又有一锅鹰嘴豆堆在地板上冒烟儿; 苏打饼干被捻成碎末，沿门槛撒成一道线。

In English, verbs have tense and aspect changes. Tenses in English include present tense, past tense, future tense. The past tense, which indicates the action or state in the past at a certain time, is usually expressed by adding the affix ed directly after the verb. In the above examples, appeared, waited and crumbled demonstrated that all actions that happened in the past. However, for Chinese, tense, plural, and mood can not be expressed through corresponding grammar. Therefore, the translator can only translate the meaning of the original text by using level shifts. Then, time-related words, such as “了”, “着”,“过”, are selected.

Example 2

ST2: Counting on the stillness of her own soul, she had forgotten the other one: the soul of her baby girl. Who would have thought that a little old baby could harbor so much rage? Rutting among the stones under the eyes of the engraver's son was not enough.

TT2: 只想着自己灵魂的安宁,她忘记了另一个灵魂:她的宝贝女儿的亡灵。谁能想到一个小小的婴儿会心怀这么多的愤懑？在石头中间,在刻字工的儿子眼皮底下与人苟合还不够。

Counting and Rutting in the above examples are a current participle with ing structure, which can also represent the current or active actions. At this time, the present participle is used as the adverbial of manner, and its logical subject is the subject in the sentence. In the above example, the present participle counting and rutting in the sentence shows that their actions happen simultaneously with the predicate. In this sentence, it is obviously unreasonable to translate the counting and rutting into “正在”, and it is more appropriate to regard it as the active actions.

Example 3

ST3: And not noticing how high the weeds had grown until the itching was all the way to her knees. Then something. The plash of water, the sight of her shoes and stockings awry on the path where she had flung them;

TT3: 直到膝盖觉得刺痒,她才留意野草已长得这么高了。然后就有了什么。也许是水花的飞溅声，被她扔在路上的鞋袜七扭八歪的样子。

The perfect tense refers to the action being in a completed state. There are three general categories of perfect tense: present, past, and future perfect tenses. The construction of the perfect tense is divided into two parts: one is the auxiliary verb（have/has/had）, the other is the past participle of a verb. In the above sentence, had grown and had flung are past perfect tenses, which refers to an action that has taken place or completed before a certain time or action in the past, focusing on the result of the event. However, in Chinese translation, there is no corresponding grammatical structure to express this tense, which can only be realized by adverbs or auxiliary words, such as "已经", "了", "过", etc.

=====Shifts between Plurality and Lexis=====
Example 4

ST4: Boys hanging from the most beautiful sycamores in the world.

TT4: 小伙子们吊死在世上最美丽的梧桐树上。

Example 5

ST5: For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims.

TT5: 多年以来，每个人都以各自的方式忍受着这恶意，可是到了1873年，塞丝和女儿丹芙成了它仅存的受害者。

Example 6

ST6: Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT6: 他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Any language has the category of number, and the number can be divided into singular and plural. English is a typical singular and plural language, with obvious plural markers. Chinese nouns have no marked form but have the concept of singular and plural. Therefore, there are great differences in plural expression between English and Chinese.

There are uncountable and countable English nouns. Countable nouns can be divided into the singular and the plural. The plural is usually realized through the inflectional changes, and the rules of which are various. The general rule is to add s, es, ics, ves at the end of the word. The plural of Chinese nouns can not be expressed by the form of nouns themselves, but by other words or methods. 1) Use quantifiers to express the plural, such as "群", "次", "双" and so on.2) Add "们" after pronouns or nouns to form the plural, such as“我们”, “女士们”, “孩子们”, etc. 3) Some nouns or quantifiers can express the plural concept by reduplication. Such as “家家”, “人人”，“事事”, etc. In the above examples, when translating boys, years and weeks, the translator chooses to use the Quantifier "们" , adjectives "多" and quantifier “个” in front of the noun to express the concept of plural and convey the original meaning more correctly.

====Category Shifts Applied in the Version====

According to Halliday, gradations represent the five levels of language units: morphemes, words, phrases, clauses and sentences. Catford's category shifts are the free transfer between these different levels.

Catford also proposed unrestricted translation and restricted translation. The distinction between the two depends on whether there is an intention to limit the target language and the source language to specific language units. Catford's translation method of category shifts is unrestricted translation, which is suitable for most cases. Category shifts, as previously mentioned, cover structure shifts, class shifts, unit shifts, intra-system shifts.

=====Structure Shifts=====
In E-C translation, considering the factors of sentence structure and expression focus, sometimes in the process of translation, the translator needs to make corresponding structural changes, such as changing sentence structure and adjusting word order. Structural shifts are divided into (1) shifts between positive expression and negative expression; and (2) shifts between active expression and passive expression.(毛菁菁, 2015, 145-146)

'''4.2.1.1 Shifts from Active Voice to Passive Voice'''

Example 7

ST7: Neither boy waited to see more; another kettleful of chickpeas smoking in a heap on the floor; soda crackers crumbled and strewn in a line next to the door sill. Nor did they wait for one of the relief periods: the weeks, months even, when nothing was disturbed.

TT7: 两个男孩谁也没有等着往下看:又有一锅鹰嘴豆堆在地板上冒烟儿;苏打饼干被捻成碎末，沿门槛撒成一道线。他们也没有再等一个间歇期，几个星期、甚至几个月的风平浪静。

Chinese and English share common grounds in active voice and passive voice, but the use of the voices is not the same. Due to the different characteristics of English and Chinese and the different ways of thinking of the two nations, generally speaking, English has more passive sentences than Chinese (连淑能，1993，90). There are two ways to translate English passive voice into Chinese. One is to translate it into Chinese with the structure of “被” or a similar structure. Besides “被”, we can also use other lexical means to express the passive voice (such as “由”, “把”，“受”，“为”, etc ). The second is to translate it into active voice or other structures, which is the most commonly used.

In the sentence above, was disturbed is the obvious passive voice. Through analysis, it can be seen that the passive voice in this sentence has no subject of the agent. When translated into Chinese in passive voice, such as "没有事情被打扰", it obviously deviates from Chinese expression habits, therefore, the translator translated it into the active sentence by using sentence without a subject.

'''4.2.1.2 Shifts from Affirmation to Negation'''

Example 8

ST8: For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends.

TT8:贝比奶奶还未去世的整整十二年时间里，从没有过任何一种来访者，当然也就没有朋友。

ST9:It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes.

Example 9

TT9:好久没有什么人（好心的白女人、牧师、演说家或是报社记者——他们眼中的反感证明他们同情的声音不过是谎言）来坐在她们家的桌子旁边了。

ST9: When he got to his house he was too tired to eat the food his sister and nephews had prepared.

TT9: 他回到家时，累得吃不下妹妹和外甥们做好的晚饭。

Due to the different social and cultural backgrounds and ways of thinking, tremendous differences exist in expressing negative meaning between English and Chinese. Both English and Chinese can express the same concept from the positive or the negative. In the process of translation, some sentences expressed from the positive can be processed into negative expressions, and the contents expressed from the negative can also be processed into positive expressions.

In the above examples, before Grandma Baby died, and It had been a long time since are affirmative expressions. If translated literally into “在贝比奶奶死之前” and “自从……，已经很久”, although it does express the original meaning, it seems lengthy and unnatural. In order to make the translation concise, clear, proper for the context, and consistent with Chinese expression habits, it is necessary to use negative expressions to replace positive expressions. This kind of translation method is very common in English Chinese translation. In addition to using negative words to express negation, they are other ways to express relatively implicit negation by using words (absence, lack, refusal, etc), phrases (free from, short of, blind to, etc), and so on. In this sense, appropriate conversion is of great importance.

'''4.2.1.3 Shifts from Postpositive Attributives to Prepositive Attributives'''

Example 10

ST10: Not only did she have to live out her years in a house palsied by the baby's fury at having its throat cut, but those ten minutes she spent pressed up against dawn-colored stone studded with star chips, her knees wide open as the grave, were longer than life, more alive, more pulsating than the baby blood that soaked her fingers like oil.

TT10:她不仅必须在那因割断喉咙的婴儿的暴怒而瘫痪的房子里度日，而且她紧贴着缀满星斑的曙色墓石、双膝墓穴般敞开时付出的那十分钟，比生命更长，更活跃，比那油一般浸透手指的婴儿的鲜血更加脉动不息。

Under different language families, English and Chinese are different in the utilization of attributives. Chinese attributives are usually placed in front of the headword. While in English, postpositive attributives are often used. From the sentence above, it is easy to know that palsied by the baby's fury at having its throat cut, studded with star chips and that soaked her fingers like oil are post attributives to modify the former noun. Because the length of the attributive is a bit long and does not contain complex meaning, it is more appropriate to translate part of the attributive into Chinese postpositive attributive, which can also clearly express the meaning of the sentence and avoid being top-heavy.

=====Class Shifts=====
Class Shifts refer to the conversion of part of speech between the source text and the target language, which often involves the shift of nouns, adjectives, adverbs, prepositions, and verbs.

It is not difficult to find that English sentences are mostly static words, while Chinese sentences are mostly dynamic words. Therefore, class switching often needs to change the part of speech to adapt to the target language. The conversion of part of speech of English nouns can be roughly divided into two situations: one is related to the part of speech of the core word of the word; the other is that the word itself has multiple parts of speech, which should be changed according to the specific context.

'''4.2.2.1 Shifts of Prepositions'''

Example 11

ST11: "Not a house in the country ain't packed to its rafters with some dead Negro's grief. We lucky this ghost is a baby.

TT11: “在这个国家里,没有哪座房子不是从地板到房梁都塞满了黑人死鬼的悲伤。我们还算幸运，这个鬼不过是个娃娃。

Example 12

ST12: And Sethe would oblige her with anything from fabric to her own tongue. Winter in Ohio was especially rough if you had an appetite for color.

TT12: 塞丝就用一切来满足她,从布料到自己的舌头。如果你对色彩有所奢望，那么俄亥俄的冬天就尤其令人不堪忍受。

English prepositions, function words as they are, are crucial links in English lines and articles and play an extremely important role in English. Due to the lack of various prepositions in Chinese and the fact that most of them come from the grammaticalization of ancient verbs, the translation of prepositions between English and Chinese is very complicated (仲晶瑶，2003，84-85). But the most common way is to translate prepositions into verbs.

In the above examples, the preposition with is frequently used in English, and its meaning is different according to the contexts. In the above example, with in both sentences can only be translated into verbs in Chinese. But because the object behind is not the same, so the collocation of verbs is not the same. The object of the first sentence is "悲伤", so it can be combined with "塞满". The object of the second sentence is "一切", so we choose the word "用".

'''4.2.2.2 Shifts of Adjectives'''

Example 13

ST13: 124 was so full of strong feeling perhaps she was oblivious to the loss of anything at all.

TT13: 时时刻刻有强烈的感情占据着124号，也许她对任何一种丧失都无动于衷了。

Example 14

ST14: My birth was and I got saved all the time. And that I shouldn't be afraid of the ghost. It wouldn't harm me because I tasted its blood when Ma'am nursed me.

TT14: 我的出生就是这样，而且后来我也总被救活。我不该怕那个鬼魂。它不会伤害我,因为太太喂我的时候我尝过它的血。

In the above sentence, full of is a fixed phrase, which is often used by native English speakers. Its meaning is easy to understand, but if translated literally into “充满了”, it is not in line with the Chinese expression habits, not authentic at all. Therefore, the translator shifts the part of speech of the word full into the Chinese verb "占据". Afraid in the second sentence is also an adjective, which can not be translated as "害怕的". It is better translated as the verb "害怕". English and Chinese are different. In translation, for the sake of fluency and accuracy, the conversion of part of speech is essential.

'''4.2.2.3 Shifts of Nouns'''
Example 15

ST15: "Not if you scared, they ain't." Garner's smile was wide. "But if you a man yourself, you'll want your niggers to be men too."

TT15:“要是你自己胆小，他们就不是了。”加纳咧开嘴笑了，“可如果你自己是个男子汉，你就希望你的黑鬼也是男子汉了。”

Example 16

ST16: Exhausted again, she sat down on the first handy place--a stump not far from the steps of 124. By then keeping her eyes open was less of an effort.

TT16: 她再一次精疲力尽，就近坐下一一坐在离124号的台阶不远的一个树桩上。这时她睁开双眼已经不那么费劲了。

In English to Chinese translation, nouns in English are often translated into verbs in Chinese. As Wang Ziwen said, many wonderful English sentences often use nouns to express the meaning of action, but the Chinese tend to use verbs when they express actions[12]. In the above two sentences, smile and effort are nouns in English, but the translator changes the part of speech when translating. According to the habit of Chinese expression, it is more appropriate to change smile into the verb "咧开嘴笑". Effort in the second example can use the same translation method, in which the noun effort is converted into the verb "费劲". This reflects the original meaning on the one hand and caters to Chinese expression on the other hand.

=====Unit Shifts=====
According to Catford, unit shifts refer to grade switching, that is, the equivalent component of the previous unit in the source language is a form corresponding to the unit in different grades of the target language. As is known, unlike hypotactic language represented by English, Chinese is a paratactic language, unit shifts often occur between words, phrases, or sentences in translation.

'''4.2.3.1 Shifts from Words to Phrases or Clauses'''

Example 17

ST17: Unfortunately，her brain was devious. She might be hurrying across a field, running practically, to get to the pump quickly and rinse the chamomile sap from her legs.

TT17: 遗憾的是她的脑子迂回曲折难以捉摸。比如，她正匆匆穿过一片田野.简直是在奔跑,就为以快赶到压水井那里,洗掉腿上的春黄菊汁。

Example 18

ST18:And although there was not a leaf on that farm that did not make her want to scream, it rolled itself out before her in shameless beauty.

TT18: 尽管那个农庄里没有一草一木不令她失声尖叫，它仍然在她面前展开无耻的美丽。

In example 17, unfortunately is an adverb, while in Chinese a single adverb is seldom used at the beginning of the sentence. Accordingly, the translator transforms the word unfortunately into a Chinese phrase when translating.

In the example18, the literal meanings of the verbs a leaf and scream are "一片叶子" and "尖叫" respectively. If they are put into the translation rigidly, it seems not smooth enough. Therefore, the translator transforms the English noun into Chinese phrase "一草一木" and "失声尖叫" to express her feeling of surprise and happiness, which is more like Chinese expression and makes the target language readers understand the meaning more clearly and completely. Whether in English or Chinese, there are concise expressions. A word can express more complex meanings, and if it is translated literally, it may not express clearly. Therefore, if necessary, the translator should supplement the content left out in the original text.

'''4.2.3.2 Shifts from sentence to sentence groups'''

Example 21

ST21: And although she was afraid to leave Sethe and Beloved alone all day not knowing what calamity either one of them would create, she came to realize that her presence in that house had no influence on what either woman did.

TT21: 尽管整天把塞丝和宠儿留在家里，让她提心吊胆，不知道她们哪一个会闯什么祸，但是，她逐渐认识到，自己在房子里存在与否，根本影响不了她们的所作所为。

The sentence above can be seen as an adverbial clause of concession with a negative of the present participle(not v+ing) and two objective clauses. Although the sentence is complex, its meaning is easy to understand. When dealing with this kind of clause, the translator should first break the sentence, that is, disassemble the long sentence into multiple short ones; after that, adjust the word order and add the appropriate subject and conjunction words in the translation. Finally, the whole sentence is translated into Chinese with several sentences to make the translation coherent and smooth.

=====Intra-system Shifts=====
Intra-system Shifts refer to the case that the transformation occurs within the system. In other words, if the source and target languages feature fixed structures, but the translation needs to select a non-corresponding term in the translation system. For example, nouns in English and French have singular and plural forms, but the translator does not translate the singular and plural forms in the original into corresponding forms.

Example 22

ST22: On a riverbank in the cool of a summer evening two women struggled under a shower of silvery blue.

TT22: 在一个夏夜微凉的河岸上,两个女人在银蓝色的光芒下挣扎着。

Articles are the most frequently used words in English. However, it is difficult for the Chinese to learn articles. During translation, the meaning of an article can not be underestimated. To deal with it correctly is necessary to improve the quality of translation, and sometimes even the key to the success of translation.

The indefinite article has two grammatical functions: the generic function and the numerical function. When the indefinite article helps to explain the category of a noun, that is, when the indefinite article is used in the generic sense, it should not be translated as "一". In example 22, if the literal translation of a shower of silvery blue is "一道银蓝色的光芒", then the translator does not understand the usage of the indefinite article a very well. Or not familiar with Chinese expressions. Here, the translator deletes “一道” in the translation to improve the quality of the translation.

Example 23

ST23: She flattened herself on the ground, dirtying her bold stripes, and touched the rocking faces with her own.

TT23: 她平趴在地上,用自己的脸去接触水中那些摇动的脸，衣服上奔放的条纹都弄脏了。

The is a definite article commonly used by native English speakers. For English learners, the meaning of this phrase is easy to understand while how to translate it is very variable according to different contexts. In fact, there are many optional means of translating the word the in Chinese by applying “这”、“一”、“有个”、“那些”etc. Therefore, in the sentence above, the translator applies the Intra-system Shifts to achieve the equivalence of meaning by using “那些”.

===Conclusion===

This paper studies the feasibility of Catford’s Translation Shift Theory in literary novel translation with the material from Toni, Morrison's Beloved, a famous novel written by numerous people. The thesis focuses on the advantages of translation shift theory.

====Major Findings of the Study====
After the analysis of Beloved's Chinese translation translated by Pan Yue and Lei Ge from the perspective of Catford's Translation Shift Theory. The author sees that the translators use many translation methods in the process of translation, especially Catford's Translation Shift Theory, which can be clearly embodied in translation. Because English and Chinese belong to two different language families, and there are great differences in grammatical structure, the shift is essential in English-Chinese translation. In addition, I also found that.

Firstly, Catford's Translation shift Theory can be applied to the translation of novels. Moreover, this theory is also essential in translation. It is a strategy and method to make the translation closer to the original text, so as to achieve equivalence.

Secondly, the translation of literary novels is the most difficult among different texts. Because the language of literary works is more visualized, and more rhetorical figures are used to express complex emotions. For translators, translating literary novels should not only accurately convey the information of the article, but also express the author's complex feelings.

====Limitations of the Study====
The whole thesis discusses the feasibility of Catford's Translation Shift Theory in literary translation. The examples selected by the author do prove this. However, the limitations of this theory are quite obvious. This theory only applies to sentences and sentences below, and is not suitable for larger units, such as paragraphs and texts. As a literary novel, the connotation and emotion of books are the essences of novels, which require the translator to convey them well, and shift theory just ignores this phenomenon. Therefore, in the actual translation process, except Catford's Translation Shift Theory, other translation methods can also be used, such as Foreignization and Domestication, Functional Equivalence, and so on.

===References===
[1]潘岳、雷格. 宠儿[M]. 北京：中国文学出版社，1996.

[2] Vinay J P, Darbelnet J. Translation and activism[M]. Paris: Didier, 1958.

[3] Catford J C. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965: 85－91.

[4] 穆雷．评卡特福德的《翻译的语言学理论》[J]．外语教学，1990(02)：37-42．

[5] Halliday M A. On Grammer[M]. London: Continuum International Publishing, 2005.

[6] 林铃．卡特福德翻译转换模式下的翻译过程研究[J]．语文学刊(外语教育与教学) ，2009(05)：74-75，82．

[7] 毛菁菁. 翻译转换理论在汉英翻译中的应用——以莫言《红高粱》英译本为例[J]. 兰州教育学院学报, 2015, 31(3): 145-146.

[7] 连淑能. 英汉对比研究[M]. 北京: 高等教育出版社, 1993: 90.

[8] 仲晶瑶. 从动词特性看英汉介词[J]. 黑龙江教育学院学报, 2003,(3): 84-85.

=付红岩A Comparative Study of the Adventures of Huckleberry Finn’s Translation on the Translation Principle-Faithfulness, Expressiveness and Elegance.=
Fu Hongyan，付红岩，Hunan Normal University,China
==abstract==
The Adventure of Huckleberry Finn represents Mark Twin’s the highest level in the terms of oral world literature, in which it depicted a upright and unconstrained teenager Huckleberry, as well as a black people Jim with the revolting spirit. From the translation perspective, the most glaring highlight is that every utterance of the protagonists conforms to their age, identity and the current situation. In addition, the appropriate application of dialectal vernacular successfully shapes the colloquial narrative style. Various Chinese version of the book has been being emerged because of the interest in narrative style with deep cultural imprint. Therefore, this paper, based on Master Yanfu’s translation principle- Faithfulness, Expressiveness and Elegance would compare the pros and cons among the translation work of Zhang Yousong, Chang Jian and Zhang Wanli.

==key words==
“Faithfulness, Expressiveness and Elegance”；translation comparison; oral literature
==摘要==
《哈克贝利·费恩历险记》是马克·吐温口语文学最成熟的代表作品之一。文中刻画了善良正直、不喜拘束的少年哈克贝利和具有反叛抗争精神的黑人吉姆。从翻译角度出发，文本的最大亮点是作者使得主人公们说出的每一句话都符合他们的年龄、身份和当时所处的情况，方言土语恰当好处的应用成功塑造了口语化的叙事风格。针对带有深厚文化印记的语言风格，各种中译本层出不穷。本文旨在严复先生的翻译原则—“信达雅”的基础上，对张友松、常健和张万里三位翻译家的作品进行翻译对比研究，站在“双语读者”的角度浅论三者译本的得失之处。
==关键词==
“信达雅”；翻译对比；口语文学

==Introduction==
===Introduction to Yan Fu===

Yan fu, a influential enlightenment thinker and distinguished translator in modern times, whose initial contribution to translation is the tree principles- Faithfulness, Expressiveness and Elegance. The principles is so inclusive and comprehensive that following translators subconsciously proposed, argued and corrected their own viewpoints encompassing the principles. In 1897, Mr Yan translated and published Evolution and Ethics written by T. H. Huxley, in which he proposed that three difficulties for translation, Faithfulness, Expressiveness and Elegance. The first one, evidently demands to be faithful to the original text, paraphrasing what the original writer intends to say. In addition, the translators are not supposed to add or subtract the original meaning at their will. And the second one, to the great extent, may be somewhat controversial. Expressiveness is recognized as coherent and smooth. In such way, the former two principles became incompatible and in consistent conceptions. Here I quote the words: “ To be as much as faithful as is rather difficult, not the mention Expressiveness. Hence the translation work is completely meaningless, and Expressiveness still needs to be paid more efforts.” The above quotations seems to put the two principles in a equal position, even the first less important than the second. Actually, such evaluation is superficial understanding. Related to the current social condition, both the original and translated versions are landmark meaning, so making the civil people to understand and accept the fresh Western idea was rather challenging. Therefore, Yan Fu paid especial attention to how the original context was rendered, namely sentence structure, annotation as well as additional personal understanding. All of those were named as “management” by Yan Fu, which presupposes no diminution to the original meaning. Elegance, at last but not the least, the ultimate pursue, refers to the deliberate choice of words, more catering to the target readers and an appropriate style. The relation among the principles is successive and progressive, one deeper and profounder than the next. There were well-known translators in history who isolated the unified conception and excessively stressed certain points to criticized Yan fu’s works. As a matter of fact, for a mature translator there are not absolute but appropriate principles, and his works is through cogitations. First of all, Evolution and Ethics is a masterpiece full of advanced ideas and sophisticated terminology, which were the obstacles for Chinese readers. Out of considerations for the target readers, Yan Fu had to make some sacrificing choices to expose the Chinese readers to the Western advanced ideas so that he could achieve his political aspiration to strengthen the country’s power.（Wang 1999: 17-44）

===Introduction to The Adventure of Huckleberry Finn===

In the history of American literature, The Adventure of Huckleberry Finn has being welcomed by the readers of all ages and from all over the world. Hemingway once evaluated: “All modern American literature comes from one book-Mark Twain’s The Adventures of Huckleberry Finn, which is the best of all. All American literature comes from this book, and there is nothing better than it before or after.” Such unprecedented evaluation makes us more curious about the great book. On the one hand, it opened up to readers both in the United States and around the world a unique world of American humor, a world of humor for the millions of ordinary people who were making great strides in the development of the West. Humor made people laugh and humor contained wisdom. The images of protagonists extended from actual life are not only reminiscent of the innocence, braveness, and kindness related to the personal integrity, but also the fighting spirit against the ethnic discrimination and the passionate struggle for a more equal and democratic live on the Mississippi River. The book was written out of the writer’s despise of the a old and unenlightened culture, so he created the character Huckleberry who is the carnation unprejudiced and philanthropic and black Jim fighting against suppression and responsible. We can feel the authentic friendship and equal human relation beyond racial prejudice. On the other hand, the utterances of artistry come to the effect of humor and wisdom. The use of dialectical vernacular makes Huckleberry to act with his own words and thinking, which seems to ungracious, but actually marvellous. Such narrative style achieve the unify between the emotions and events, between forms and effects. In the text, the frequent appearance of the first person do not represent Mark Twin, but Huckleberry. At the end of adventure, he eventually made up his mind to escape his home and refuse to be controlled by the confines of old values. This not only resembles his own voice but the American voice.（Rubinstein 2007, 268）

Mark Twain was able to make the most of The Adventures of Huckleberry Finn, the first person in the history of American literature to use several dialects and colloquialisms throughout the book. As he mentions in the novel’s description, “these different colored dialects were not written down in a haphazard or speculative manner, but with great effort and painstaking care.” In order to reflect social life and portray characters, writers must employ the language used by all social classes. The language style must be appropriate to the ideas he expresses and to the characters he portrays, in order to vividly and realistically reflect their personalities.There is no a single word in the entire text that does not fit Huck and Jim’s identity. The living dialect and vernacular make the characters’ images, personalities and the detailed and subtle changes in the main character’s inner thoughts and feelings become fully portrayed in the text. The writing style is fresh and lively, giving people a sense of humour and surprise.（Rubinstein 2007, 268）

The artistic nature of literature determines that the translation of literary works should convey the spirit and flavor of the original text. Mr. Qian Zhongshu’s the theory of Hua is the definition of style and rhythm. The reproduction of typical characters in typical environments is a very important issue in literary creation. According to the author's creative intention, he gives the character a certain identity, background and relevant language characteristics, thus forming the character's unique personality and speech style. The key to whether a Chinese translation of such a work can maintain the charm, mood and characterization of the original is the transmission of its stylistic theme - the language style. The use of character language is important to be appropriate. People of different ages, personalities and backgrounds cannot speak in the same way. The speaker’s identity, status, age, and other personal factors, as well as communication background, can have a great impact on the usage of language, resulting in “language variants,” which can be reflected in vocabulary, phonetics, grammar and other aspects. The linguistic variants are concretely expressed in different linguistic forms, and they are the material elements of style formation. The linguistic form is not the purpose but a means of creation, and it reflects and embodies the characterization and social reality. Translation is not about likeness but about resemblance. The artistic authentic is settled in the original work by a certain linguistic form. The translator should start from the artistic context of the original work, consider the linguistic form of the original work, and search for the perfect linguistic form again in the language of the translation, so as to obtain the flavor and spirit of the original text. Thus, in conveying the linguistic style of the original work. The translator should appreciate the source language style and the characters it is intended to portray and the artistic mood it embodies through the carrier of the style - the linguistic form. Taking the artistic context of the original work as a starting point, the translator should strive to find the best form in the translated language that can reproduce this already, without being bound by the word or structural form of the original.(Wang 1999: 17-44)

The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

== The key points of translation ==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.

Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.(Cui 2019, 75-77)

==The main characters of the context==
The Adventure of Huckleberry Finn is narrated in the voice of a child. Huckleberry’s age, living environment and education make his language appear to be non-standard colloquial, using simple and plain words and sentences. The language style of the book is informal and casual. The translator should take advantage of the characteristics of the Chinese language on the basis of an overall grasp of the linguistic style to convey the stylistic style of the original text in a flexible and adequate manner. Both translations do a good job of capturing Harker's linguistic characteristics and reproducing as much of the colloquialism as possible. Both translations have their own subtleties, but in general, Zhang Wanli tends to be faithful to the structure of the original text, while Cheng Shi, according to the characteristics of Chinese, captures the spirit of the original sentences, flexibly changes the order of words, and makes full use of the rich Chinese vocabulary, especially the inflectional auxiliaries and adverbs, to complement the tone, trying to make the whole text colloquial and in line with the tone of a naive child.
Another characteristic of the original language is the use of Black English, a special social dialect that has its own special place in the American language system and social system. The Black English has irregularities in both grammar and pronunciation, and this irregularity is expressed in literature through the irregularity of spelling, which becomes a formal marker of the black language. In Chinese there is no such a social dialect or linguistic variant with social stratification. This poses a great difficulty for translation. Zhang Wanli adopts Mandarin to translate the black language, and the translation is smooth, but on the other hand, it erases Jim's black linguistic characteristics, which in turn affects the reproduction of the character’s image. Cheng Shih realized this point and used the near-sounding words in Chinese to replace the original words to indicate Jim’s non-standard pronunciation, which was a welcome attempt to translate the dialect and achieved certain effect. However, it is not perfect. The use of near-sounding words or aliases to translate the original language to mark irregularities affects the readability of the doubt and may produce some special effect that the original language does not have.
In this paper, we use some excerpts from Chapter 16 of the original work as examples to compare in detail the translation techniques and effects of the two translations, based on the theoretical principle of translating with faith and elegance. In this chapter, Huck and Jim miss their destination in Cairo because they do not know the way, and Huck cleverly tricks two white men who are in pursuit of black slaves. The conflict within Huck’s heart is vividly and carefully portrayed in his attitude toward Jim.
==Further comparative analysis==
=== excerpt 1===
…… a little ways behind a monstrous long raft that was as long going by as a procession. She had four long sweeps at each end,… She had five big wigwams abroad, wide apart, and an open camp fire in the middle, and a tall flag-pole at each end. There was a power of the style about her. It amounted to something being a raftsman on such a craft as that.
Zhang Wanli’ version: ……有一排很长很长的木筏……它每一头有四根长桨……筏子上搭着五个大窝棚，彼此离得很远，木筏当中还生着一个露天大火堆，每一头还有一个大旗杆。他的气派实在大极了。在这样的筏子上当个伙计，那才真够神气的哪。
Cheng Shi’s version: ……有一列长的出奇的木排，在木排前后各有四只长桨……它上面有五座木棚，彼此相隔挺远，中间生着一个露天的大篝火，两头各有一根高高的旗杆。整个木排看起来好不威风。在这样的船上当个木排夫，那才够意思。
This passage describes the scene and thoughts of Huck when he saw a row of big rafts on the river. The structure of the original sentence is simple and the wording is plain. A few simple words outline the rafts in Huck's eyes: monstrous, big , wide, tall. The emotions contained in the original words and phrases must be equally reflected in the translation in order for the translation to retain the image and rhythm of the original text and achieve the likeness of God, that is, to reach. Zhang Wanli's translation makes full use of the advantages of Chinese language and uses words rich in children's flavor to reproduce Huck's psychology. He translates the two adjectives big tall as big (shack) big (fire) big (flagpole) and later (imposing) big, four big words in a row, which seems to be out of the original text and inappropriate. But this is exactly where the translator's skill lies. The four big words do not seem to match the original text, but in fact they do not deviate from it at all, and their charm is more than the literal faithfulness. The use of four big words in a row gives a sense of progression when reading, implying that Huck’s envy is getting stronger and stronger, on the other hand, it also reflects that Huck’s vocabulary is not rich with a low level of education. Cheng’s translation is a faithful rendering of the original words, with a slightly lesser rendering of the style of the text. Moreover, the sentence structure, the rigorous choice of words do not match the Huckle’s identity. Both translations succeed in translating the last two lines describing Harker’s psychology, making the reader feel Harker’s envious yearning. Zhang Wanli captures the spirit of the original sentence by flexibly adding adverbs and inflections. The use of these words makes the whole translation vivid and lively, and Huck’s demeanor and tone jump off the page.
===excerpt2===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.

===excerpt3===
‘I will, sir, I will, honest-but don’t leave us, please. It ‘s the-the-gentleman, if you will only pull ahead, and let me heave you the head-line, you won’t have to come a-near raft-please do.’
Zhang Wanli’ version: “我一定说，先生，我一定老老实实说—可是千万别离开我们。那种病是—是—诸位先生，只要你们把船划过去，等我把筏子头上的绳子交给你们。你们根本不必到木筏跟前去—千万帮个忙吧。”
Cheng Shi’s version: “我说，先生，我说老实话—可请你们千万别丢下我们不管。他得的是—是—先生，只要你们往前划我把缆绳扔给你们，你们不用靠近木排—我求求你们。”
Jim was excited at the thought that he would soon be free, and looked forward to his future life. Huck, however, was condemned by his conscience. So he was ready to row to the shore to denounce Jim, but happened to run into two white men in pursuit of the runaway nigger. Huck, in a panic, says that his father is seriously ill on the boat. This is a conversation he had with the two white men. Huck is trying to scare them off by not talking about his father's illness. Huck is colorful and pretentious. The original sentence is short, fully reflecting Huck’s fake anxious worried and earnest attitude, reading the original text is like reading the original words, its wit, cunning can be seen。Zhang Wanli’s translation faithfully translates the meaning of the original text. When compared with the original text, there are no obvious errors in the translation. But the whole paragraph reads, the sentences are too long and awkward, and more importantly, the rhythm of the translation is gone, and what appears to the reader is an adult who chews on words, and the original cleverness and loveliness is gone. Cheng’s translation, however, is able to go beyond the confines of the original words and phrases, and flexibly change the perspective, using Chinese colloquial words and phrases to reproduce Huck’s tone and manner, realistically creating for the reader an image of a child who "lies without blushing", truly faithful to the original text and achieving a godlike resemblance.
===excerpt 4===
We didn’t say a word for a good while. There warn’t anything to say. We both knowed well enough is was some more work of the rattle-snake skin: so what was the use to talk about it? It would only look like we was finding fault, and that would be bound to fetch more bad luck- and keep on fetching it, too, till we known enough to keep still.
Zhang Wanli’ version: 我们带了半天没出声。根本也没什么可说的了。我们两个明明知道这又是那条蛇皮在作祟；那还谈他干什么？那仿佛时我们还在抱怨，结果一定花卉碰上倒霉的事—照这样一直碰下去，最后受够了教训，只好不声不响。
Cheng Shi’s version: 有好一阵，我们做不得声。没有什么好说的，我们两心里透亮：又是那响尾蛇在作怪；有什么可议论的，那只会使我们像在批判抱怨，准保会招来更多的倒霉事—而且会不断的招来倒霉事，一直到我们明白过来，一声不吭才完。
When Huck and Jim noticed that the raft they had hidden was missing, the two knew that the rattlesnake was at work. It was just a superstition, but the two of them were convinced of it and were frustrated and scared. The first sentence reflects their feelings at that time very well. The first sentence is a good reflection of their feelings at that time. It uses Chinese syntax to highlight the word “good” and the real reason for not saying a word. From the above examples, in order to convey the natural and fresh style of spoken language in this novel and to reproduce the lifelike characters, we must start from the content and style information conveyed by the original form, through adding words and changing angles, in order to use the best form to express the original work and truly resemble it. The loss of the original text’s charm will be caused by excessive confinement to the original form.
==Conclusion==
There used to be a saying in translation circles that different languages could not be translated into each other. However, as translation theories have been improved, translation practices have been enriched, and translation methods have been diversified, translators have sought to maximize the practice of translating texts from one national language to another. The Adventures of Huckleberry Finn is a good example. Although the extensive use of dialects in the original text hinders the understanding of the target language readers to a certain extent, the translators use word additions and conversions to make it meet the cultural identity of the target people as much as possible. The first level of Yan Fu’s principle of “Faithfulness, Expressiveness and Elegance” in translation requires the literal meaning to be consistent with the original text, which is also the basic requirement of translation. Given that most translators have good bilingual skills and can translate the literal meaning accurately, even some ethnic imagery can be better understood by the target and the reader by adding notes. The second level is the faithfulness to the style of the language. It is required that the style of the source language should not be compromised while the reader of the target language should be taken care of, and the translator has to play his role in both, acting as a mediator between the two sides. This last ultimate requirement relies entirely on the translator. Influenced by classical Chinese poetry, translators prefer to translate works with an antique character, such as translating the works of the great Wang Zuoliang. Readers can feel the intellectual wisdom of the original work on one hand, and the inner beauty of classical Chinese literature on the other. This is a two-way enjoyment. However, for works with a strong colloquial style, there is more room to take advantage of the Chinese language: shorter sentence pattern, rich inflectional auxiliaries making for complicated feelings, etc. The Adventures of Huckleberry Finn is not only a jewel in American literature but also in world literature, and his various Chinese translations have also added an extraordinary inspiration to Chinese literature.

Reference:

Cuddon, J. A(1997). A Dictionary of Literary Terms. Chatham: W&J Mackay Limited.
Rubinstein, Annette T. American literature: Root and Flower, Significant Poets.
Tylter, Alexander Fraser(2007). Essay on the Principle of Translation. Beijing: Foreign Language Teaching and Research Press.
Twain Mark(1944). The Adventure of Huckleberry Finn. Beijing: Foreign Language Press.
Chen Fukang陈福康(1992). 《中国译学理论史稿》History of Chinese Translation Theory. 上海：上海外语教育出版社，Shanghai Education Press
Cheng Shi成时(1988). 《赫克尔贝利·费恩历险记》The Adventure of Huckleberry Finn. 北京：人民出版社, People’s Publishing House.
Cui Yonglu崔永禄(2019). 《文学翻译佳作对比赏析》A Comparative Study of Literary Translation. 天津，南开大学出版社, Nankai University Press.
Wang Zhihong王志宏.(1999) 重释“信达雅”Reinterpretation of Faithfulness, Expressiveness and Elegance, 东方中心出版社, Oriental Center Press.
Zhang Wanli张万里(1984).《哈克贝利·费恩历险记》The Adventure of Huckleberry Finn. 上海：上海文学出版社, Shanghai Literature Press.

=3 詹若萱 Chinese Translation of Subtitles of "Jane Eyre" from the Perspective of Functional Equivalence Theory=
[[Theor_App_Lit_EN_3]]

=6李雯 Creative Treason in Literary Translation:Take English Versions of Bian Cheng as Example（文学翻译中译者的创造性叛逆--以《边城》英译本为例）=

= Abstract=
Creative treason was put forward by Robert Escarpit in 1958.Bian Cheng is the masterpiece of Shen Congwen. Its English versions obtain widespread attention from home and abroad. However,scarce scholars study Bian Cheng from the perspective of creative treason. This thesis analyzes English versions of Bian Cheng by Shen Congwen to study creative treason.This paper briefly introduces creative treason, Bian Cheng and different English versions of Bian Cheng. Through analysis of some examples in different English versions of Bian Cheng, it concludes translation strategies of creative treason, such as domestication, free translation, mistranslation, omission and so on.Translation is a kind of re-creation of the translator. Different translators adopt different strategies of creative treason during translation, which aim to better represent essence of the original work and help spread Chinese literature.
=Key words=
Key Words:Bian Cheng; literary translation; Creative treason

=摘要=
创造性叛逆是由罗伯特•埃斯卡皮于1958年提出的翻译理论。《边城》作为沈从文的代表作，其译本在国内外文学翻译界都备受关注，但却鲜少有学者从创造性叛逆视角对《边城》英译本进行研究。本文以沈从文《边城》英译本为例分析创造性叛逆。本论文简要介绍创造性叛逆翻译理论、《边城》以及其不同英译本。通过对《边城》不同英译本中的例子进行细致的分析，总结创造性叛逆的翻译策略，如归化、意译、误译、漏译等。翻译是译者的一种再创作活动，译者在翻译过程中采取不同的创造性叛逆策略，旨在更好地体现原文内涵，促进中国文学作品的传播。
=关键词=
关键词：《边城》；文学翻译；创造性叛逆
=Chapter One Introduction=
Perfect translation is not absolute conformity with the original form,but an integration between the original meaning and the translator's own creation.Such creation is known as creative treason which is of great significance in literary translation. This thesis,based on creative treason theory,analyzes English versions of Bian Cheng by Shen Congwen and attempts to conclude strategies of creative treason.
=1.1 Research Background=
For a long time,the study of translation in Chinese and western translation circles was confined to the study of the original work and the author, but it missed the importance of the real creator —the translator—and his special cultural status. Many translation theories, like “Faithfulness, Expressiveness and Elegance”,“Spirit Likeness”and“Sublimation Theory”, advocated absolute faithfulness to the original work. Translators were in a dilemma between obedience to the original author and flattery to the readers. The traditional translation theories also held that the value for translation was no match for the original work and translation was a kind of imitation lack of creativity. These ideas greatly restricted the development of translation and put translators in a dilemma between faithfulness and treason.

Robert Escarpit put the notion of creative treason in 1958,which injected literary translation with new strategies. Creative treason,as inevitable phenomenon during literary translation,is gaining more and more attention from translators and scholars.

The 20th century is known as the“Era of translation” (Newmark, 2001:3).Translation theories achieved unprecedented development.Increasing number of researchers began to explore translation from the perspective of culture,which enriched the essence of creative treason .Researches about creative treason greatly increases these years .It has become a necessary strategy during the process of literary translation.

=1.2 Research Significance=
Creative treason is extremely frequent in literary translation. In the process of literary translation, the translator's translation is often affected by bilingual differences, cultural context, social background and original style. Under the restriction of these objective conditions, the translator gives full play to his subjective initiative in translation activities and adds a lot of creative translation on the premise of respecting the original. This is the inevitability of creative treason in literary translation. For some certain purpose, translators often take stock of all the relevant factors affecting translation and choose one or more creative treason strategies. These strategies are not mutually exclusive but instead they often coexist in one translation version.

Bian Cheng, as a treasure of Chinese literature, has four English versions,each with its own characteristics and advantages. With the image of beautiful natural scenery, Bian Cheng is full of rich natural environment, folk customs, human feelings ,love and sadness.It is viewed as one of the most wonderful work in Chinese literature and is of great research value. Because it is rich in literary value and cultural information,different translators have different understandings in different historical and cultural backgrounds. So they use different translation strategies to meet the needs of their potential readers and purposes,thus many creative treason strategies appear in the process of translation.

Above all,it is of great value to investigate English versions Bian Cheng from the perspective of creative treason as many kinds of creative treason appear in these different translation versions.Through analysis,this research can help readers grasp a better understanding of creative treason and facilitate the spread of Bian Cheng.

=Chapter Two Literature Review=
Since the advent of creative treason,it has gained much attention from translators.More and more scholars begin to investigate literary translation from the perspective of creative treason.Bian Cheng, as the masterpiece of Shen Congwen, also gained much notice at home and abroad.Researches about creative treason and Bian Cheng emerge one after another in recent years.
=2.1 Studies of Creative Treason Theory at Home and Abroad=
Studies about creative treason theory originated from foreign countries.It was initiated by a French literary sociologist Robert Escarpit in his book The Sociology of Literature in 1958 and received wide attention from home and broad since its advent.Creative treason injected literary translation new vitality and new strategies which were widely employed in various classical works of literary translation.

The domestic research on creative treason theory can be divided into three stages: discovery stage, introduction stage and in-depth discussion stage.

Discovery stage:In 1987,Comparative Study of Eastern and Western Literature,edited by Institute of Foreign Languages and Literature in Shanghai International Studies University, pointed out that translation is a kind of "creative treason", which is manifested in the form of omission, addition and free translation;

Introduction stage:The first Chinese scholar who brought creative treason into China was Xie Tianzhen in 1992 and later he wrote some articles to further illustrate creative treason.

In-depth discussion stage:In this phase,there were other scholars who studied creative treason from various aspects.For example,In 2003, Yang Liu pointed out that creative misreading appeared in the form of addition, adaptation and even mistranslation, which showed his understanding of creative treason and summarized the strategies of creative treason;In 2003, Xu Jun published Creative Treason and Translation Subjectivity in Chinese Translators Journal and pointed out that translators were in a dilemma between faithfulness and treason.Through interpretation of creative treason, he tried to find the subjectivity of translators between the two poles.

But in summary,research for this important translation theory —creative treason—is not enough at all no matter among foreign scholars or native scholars.

=2.2 Studies of Bian Cheng at Home and Abroad=
Bian Cheng is the representative work of Shen Congwen, a famous writer in China. It expresses the author's deep nostalgia for his hometown, Feng Huang, which is located in the west of Hunan Province. It is an excellent novel which expresses the local mood in the history of Chinese literature. It is a beautiful and sad pastoral song. The work has been published for nearly 80 years, so has its research gone through such a long period. This novel deserves high academic value and research value.Scholars from home and abroad has made a series of researches about Bian Cheng.

Foreign scholars showed a great interest in Bian Cheng and made a lot of research on it.In 1998,Korean scholar Park Jae-bum published a paper about the writing prototype and expression skills of Bian Cheng in The Journal of the Research of Chinese Novels; In 2012, Korean scholar Li Kangren launched a thesis about the specific content of Bian Cheng in The Journal of North-East Asian Cultures, describing the border town as an imaginary village; In 2020, according to the research of the University of Macau, Science Letter discussed the translation of Bian Cheng on the basis of sociology.

Among domestic studies, comparative studies make up the most part.For example,Cao Jie analyzed three English versions of Bian Cheng from the perspective of translation aesthetics in 2017;Yan Jingsi analyzed two English versions of Bian Cheng from the perspective of translation shift in 2021. Domestic scholars are keen to make a comparative analysis of the English versions of Bian Cheng from a certain theoretical perspective. But few studies investigated Bian Cheng from the perspective of creative treason. Recently, only Huang Peiqi made a comparative study of two English versions of Bian Cheng from the perspective of creative treason in 2005, but it was 15 years ago.

Above all,it’s necessary to make a study about English versions of Bian Cheng from the perspective of creative treason.It can deepen understanding of creative treason and promote its spread among the literary translation circles.And it also provides a new kind of translation ideas of translation of Bian Cheng and better introduces Chinese literary works.

=Chapter Three Brief Introduction of Creative Treason=
Translation is a complicated process which isn’t equal to rigid correspondence.It is generally regarded both as an imitation and as a creation.In the past,translators paid more attention to achieve faithfulness to the original work. However,recently,we can find the fact that perfect translations,especially in the field of literary translation,do not completely stick to the original text,but a kind of re-creation at large through various strategies.It sounds like a treason to the original text,but actually a better expression of the essence of original work.This strategy is known as creative treason which has become one of the most significant features of literary translation.
=3.1 Definition of Creative Treason=
Creative treason is a notion of comparative literature, which was first proposed by Robert Escarpit, a French literary theorist. According to Escarpit,translation is kind of creative treason. That’s because in the process of translation,the original work is placed in another language system. The creativity of translation lies in that it gives the original work a brand new look and enables it to have a fresh communication with more readers. In that case,translation not only extends the life of the original text, but also endows it with a second life (Escarpit,1987:137).This translation theory is generally praised as “the most brilliant idea”of Escarpit.

It is Professor Xie Tianzhen who brought the concept of "creative treason" to China. In his classical work—Medio-translatology—he defined creative treason as a kind of translator’s subjective effort with which the translator tries to approach and reproduce the original work with his own artistic creativity. So the definition of creative treason is that it is a kind of objective deviation from the original text because the translator wants to achieve a certain subjective desire in the process of translation.This definition fundamentally recognizes the importance of the literary translation career that the translator is engaged in and also affirms the value of translation work.(Xie Tianzhen,1999:137).

In summary, translation is to introduce a work into a new language and cultural environment and communicate with a new group of readers. The extent to which the form and style of the original work can be reproduced in front of the target language readers depends on the translator's artistic creation and personal ability.The appearance of "creativity" in translation is the result of the translator's subjective efforts to overcome the differences in history, culture and living experience between the source language and the target language. The inevitable objective deviation from the original work in the process is called "Creative Treason" in translation.

=3.2 Significance of Creative Treason=
Translation does not only coexist with the original, but ,to be more specifically, harmoniously coexists with the original. Translation does not only give the original a new look and a second life, it also brings the original into an unfamiliar environment that it must face. In order to survive, translation must make some modifications to the original, so as to give the original a new way to adapt to the new environment,which makes the translation seem rebellious.And this is the usefulness of creative treason.

In the process of translation, the translator will inevitably relate his personal experience, historical background and cultural background to the original text, thus turning translation into a recreation of the original text. At the same time, there are space-time differences and individual differences between the translator and the author, which will inevitably lead to treason. It is also because of the creative treason in literary translation that the target readers can get the same emotional resonance as the source readers, so that the translated works can be better accepted by the target readers. If the translator's creative translation successfully attracts readers, more readers will read the text, and more extensive and in-depth studies will appear. So it’s of great value of creative treason.

=Chapter Four Brief Introduction of Bian Cheng=
Creative treason is a common phenomenon in translation,especially in literary translation. In literary translation, the level of the translator's recreation has a great influence on the readers' reading feelings and understanding of the original. In recent years, studies on literary translation from the perspective of creative treason emerge one after another. Bian Cheng boasts high status in Chinese literature and enjoys invaluable research value. Based on English versions of Bian Cheng, this paper makes an in-depth study of creative treason translation theory.
=4.1 Bian Cheng and its Author Shen Congwen =
Shen Congwen, born in Feng Huang County, Hunan Province, is a famous Chinese writer and a researcher of historical relics. Shen Congwen's life is full of twists and turns and he makes great contribution to Chinese literature.His literary works such as Bian Cheng, Xiangxi and Congwen Autobiography have great influence at home and abroad. His works have been translated into the languages of more than 40 countries such as Japan, the United States, the United Kingdom and the former Soviet Union, and have been selected into university textbooks by more than 10 countries or regions such as the United States, Japan, South Korea and the United Kingdom. He has been nominated as a candidate for the Nobel Prize in literature for twice. In summary,Shen Congwen has an unshakable position in the history of Chinese literature.

Bian Cheng is Shen Congwen's representative work, which depicts the unique local conditions and customs of Chadong in 1930s, a border town between Sichuan and Hunan . It describes in detail the simple life of the ferry old man and his granddaughter Cuicui. At the same time, it also describes the love stories of the two sons of ShunShun ,the chairman of Zhangshui wharf ,who both fall in love with Cuicui. The novel shows us a quiet and self-sufficient life in the border town. The people in the border town are kind, temperate and honest. Because of the aesthetic art of Bian Cheng , it has a unique position in the history of modern Chinese literature and is praised as "the purest novel in the history of modern Chinese literature" and "the pinnacle of pastoral legend of modern Chinese literature”.It boasts great research value.

=4.2 English Versions of Bian Cheng=
Bian Cheng has been translated repeatedly by many translators at home and abroad.At present ,there are four English versions.According to chronological order,they are ranked as following:Green Jade by American translator Emily Hahn and Chinese translator Shing Mo-Lei in 1936,The Frontier City by Chinese translator Ching Ti and English translator Robert Payne in 1947,Border Town by Chinese translator Gladys Yang and Yang Xianyi in1962,Border Town by American translator Jeffrey Kinkley in 2009.

The four English versions of Bian Cheng span 73 years. They are published by different translators for different purposes in in different social and cultural environments with different styles and characteristics. According to different situations, translators adopt different translation strategies and methods for the language and culture with local characteristics of Western Hunan. The ultimate goal of translators is to let western readers understand China, spread Xiangxi culture with local characteristics, enhance readers' reading feelings and meet their "horizon of expectation". This is rare in the history of Chinese literary translation, which shows Bian Cheng’s literary status and value.

=Chapter Five On the Creative Treason in English Versions of Bian Cheng=
The subjective and objective reasons, such as language differences,cultural differences,cultural purposes,intended readers,lead to the inevitable phenomenon of creative treason. Here through detailed analysis of examples in three English versions of Bian Cheng--The Frontier City by Ching Ti and Robert Payne , The Border Town by Gladys Yang and Yang Xianyi and the Border Town by Jeffrey Kinkley--this thesis mainly concludes two kinds of strategies:personalized translation and intended misinterpretation and omission.

=5.1 Personalized Translation=
In the practice of translation, we often notice that translation versions of the same work have different language styles and different ways of expression, although their major content are basically consistent with the original. It is not difficult to find that since translation, especially literary translation, is a kind of re-creation activity, the translator's own subjective style will inevitably be imposed on the original work, so that the translated work bears the features of the translator's personality.And this is the personalized translation produced by the personality of translation.This thesis mainly introduces three kinds of personalized translation:domestication, foreignization and free translation.
=5.1.1 Domestication=
In 1813, Friedrich Daniel Ernst Schleiermacher, ,a German philosopher, put forward two orientations of translation: one is to let the author remain peace as far as possible and guide the readers to approach the author; the other is to make readers stay in peace and lead the author to get close to readers(Schleiermacher,2010:143). Translator Lawrence Venuti was deeply inspired by it. In 1995, in Translator's Invisibility: A History of Translation, he first proposed"foreignization" and "domestication" to express the above methods.Venuti believed that domestication is to adopt an ethnocentric attitude, to make the foreign language text conform to the cultural values of the target language, and to bring the original author into the culture of the target language.Foreignization is a kind of nationalist pressure on these cultural values, accepting the language and cultural differences of foreign language texts, and bringing readers into foreign situations(Venuti,1995:20).

Domestication, in short, means that the target text moves closer to the target readers and replaces the source culture with the target culture, which is undoubtedly a kind of unfaithfulness and a kind of treason to the source culture because the translator tends to erase some cultural image in the original text to help the target readers to understand the original meaning.Domestication is a frequently used translation strategy, which is helpful for the target readers to have a deeper understanding of the deep meaning of the original text. It takes into account the acceptability of the target language readers, so the translation often fills the readers with a familiar and cordial feeling, reduces the difficulty of understanding when reading the work, and is easy to be accepted by the target language readers . On the basis of the overall understanding of the original, translators do not stick to the sentence structure of the original, but take the better understanding of target readers as their goal, which requires them to respect reader’s reading habits and feelings, capture the deep meaning contained in the surface language of the original text, abandon form to preserve meaning and convey the deep meaning of the original to target readers.In English versions of Bian Cheng,there also exists numerous phenomenon of domestication,which are used as creative treason to achieve better effect of expression.

(1)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation:Old uncle, you know—Green Jade is very attractive.(Ching Ti & Robert Payne，1982)
“观音”is an important religious image in Western Hunan and Chinese culture. In this translation, the image of “观音” with religious and cultural meaning is deleted by domestication strategy, and the hidden meaning of praising Cuicui's beautiful appearance with the image of “观音” is directly expressed by “attractive”(Gong Hong,2017: 156). This method is a kind of creative treason because it deletes the word“观音”which exists in the original text.This translation is more flexible, which can avoid the conflict of religious beliefs among Western readers, but it eliminates the essence of spreading Xiangxi culture by translation.This is translator's choice of creative treason to solve target readers' reading difficulties.

(2)Original:这是中寨王团总的, 值大钱七百吊(Shen Congwen,1987)!
Translation:Old Captain Wang—that’s who it belongs to, and it costs him a pretty sum of seven hundred thousand large cash, I can tell you.(Ching Ti & Robert Payne,1982)
During the period of the Republic of China, money was copper coins counted by hangings. One hanging was equal to 1000 copper coins, and each hanging was tied up with a rope. In the original sentence, "值大钱七百吊" means that seven million copper coins are strung into seven strings.
In this version of translation, it uses creative treason and "值大钱七百吊" is directly translated into "seven hundred thousand and large cash", which makes the target language readers directly understand the amount of money. However, it loses the original unique features and fails to reflect the conversion method of coins in the period of the Republic of China.The domestication translation strategy is adopted.

We can conclude from the above instances that domestication is helpful for the target language readers to understand the literal meaning of the source language, the culture of the country and the author's inner activities in writing. However, due to the inevitable and groundless addition and deletion of the original text, domestication has a negative impact on the weakening of cultural information content.It definitely belongs to creative treason as it selectively delete deeper illustration of some cultural connotation and image to facilitate target reader's easier understanding.Ching Ti prefers to domestication and uses a lot of domestication translation in his version,which makes his version read more fluently without cultural barrier but it is not favorable for cross-cutural communication.

=5.1.2 Foreignization=
Foreignization translation accepts the linguistic and cultural differences of foreign texts and brings readers into foreign situations. Creative treason requires that the translated text not only produces freshness and impact, but also has vigorous vitality. Foreignization translation well meets these two requirements. Foreignization retains the differences between the target language and the original language to the greatest extent. When the translated text is presented to the target language readers, the creative treason of translation is most completely represented. Translators, as messengers of different languages, also shoulder the mission of transmitting culture. In order to promote cultural interpretation and enrich language expression, translators often adopt the strategy of foreignization, which undoubtedly plays an important role in cultural transmission.

(3)Original:老伯伯,你翠翠长得真标致,像个观音样子(Shen Congwen,1987)。
Translation1:Uncle, your Emerald's grown into a fine girl, a regular Guan Yin.(Note*:The Goddess of Mercy) (Gladys Yang &Yang Xianyi,1981）
Translation2:Elder Uncle, your Cuicui has grown quite beautiful.She’s a real Guan Yin*.”(Kinkley,2009)[notes]*:Guan Yin was the goddess of mercy, a beauty in Buddhist iconography.
It has been concluded that Ching Ti uses domestication to avoid ambiguity of the original meaning and to help target readers to achieve better understanding.However, Gladys Yang and Kinkley adopt foreignization to achieve creative treason. They use typical foreignization translation which are creative treason strategies because explanatory materials are inserted. The translators use Pinyin to translate"观音" and add footnotes to explain the religious meaning of "观音" and praise Cuicui's beauty. This translation method is not only more faithful to the original, but also enables the target language readers to have a better understanding of the religious culture of Miao Nationality in Western Hunan.

（4）Original:悖时砍脑壳的(Shen Congwen,1987)!
Translation:Dammed low-life!You’re headed for the executioner!(Kinkley,2009）
The original is a dialect language of swearing in Sichuan Province, Chongqing Province and Hunan Province,signifying a curse of bad luck and bad results(Deng Gaofeng,2015:10). It is difficult for translators to directly translate such dialect because it may cause puzzles for the target readers.Kinkley adopts foreignization translation strategy to add an American dialect “Dammed low-life” which helps reserve the thick dialect flavor and transfer the basic meaning.Such addition is creative treason as the original has no words signifying the meaning of “Dammed low-life”,which benefits target readers to understand the original.

In summary,foreignization strategy is beneficial to preserve the cultural information content of the source language and the characteristics of the cultural background.It is apparently a kind of creative treason as translators often reserve the cultural connotation and explain it with his own expression. But foreignization strategy is also unsatisfactory in dealing with cultural transformation.Target readers are prone to be interrupted by unfamiliar cultural notions.Even foreignization often adds footnotes or explanation to help readers to better understand the deeper essence of the original article,it may be still not enough because culture is a complicated field.In that case,readers may feel more difficult to read translation version which adopts numerous foreignization.

From the above illustration, we can know that domestication and foreignization have their own characteristics, advantages and disadvantages. They are not absolutely superior or inferior in creative treason. In literary translation, domestication and foreignization are two coexisting translation strategies. On the surface, domestication and foreignization are contradictory and exclusive, but in essence they are complementary.In the process of the spreading literary works, both the acceptance of the translation works and the spread of the culture should be taken into account. Therefore,in literary translation, the translator should flexibly ensure the natural fluency of the translation while minimizing the loss of cultural connotation by appropriately taking advantage of domestication and foreignization.

=5.1.3 Free Translation=
Free translation means that the translator can not use the same form of expression as the original, but can only express the content and meaning of the original. In fact, Nida mentioned that literal translation is equivalent to "formal correspondence", while free translation is equivalent to "functional equivalence"(NIDA,1993).In other words, translation does not stick to the structure of the source language, but to the spirit or meaning of the source language (NIDA & Taber, 1982:5). Each country and nation has its own way of thinking and writing habits.When there is a contradiction between the thought of the original and the expression of the translation, it is not suitable to use literal translation method but should use free translation method. That is to say,when the meaning of the original text can not be translated directly,the translator should adjust the grammatical structure and carry out free translation to achieve the true meaning of the original text. Thus it can be seen that free translation is a kind of creative treason because the translator explains the original text in different forms instead of following the original blindly. For example, when some phrases and sentences are translated literally, readers may be confused and unable to understand their original meaning.At this time,the translator should make some changes to solve the problem.

(5)Original:老船夫随便为这可怜的孤雏拾取了一个近身的名字,叫做“翠翠”(Shen Congwen,1987)。
Translation1: He called her"Green Jade."(Ching Ti & Robert Payne,1982)
Translation2: The old boatman gave the poor mite the name Emerald.(Gladys Yang &Yang Xianyi,1981）
"翠翠" is the name of the heroine in the Bian Cheng. The Tea Cave Area in Western Hunan where she lives in is surrounded by green mountains and green waters,so grandpa (the old boatman) names her "翠翠". "翠" symbolizes the vitality of Tea Cave, and it also implies the tenacity of the girl in the mountain（Mei Qing,2018:157）.Both Translation1 and Translation 2 use free translation to explain the image further to target readers.These translation are creative treason as translators abandon the surface form of "翠翠" but explain the name with their own creativity.
Ching Ti translates "翠翠" into "Green jade". Jade means "a kind of valuable green jewelry " in Chinese, which represents crystal clear and auspicious.It can be easily understood by people who know Chinese culture but most foreign readers who don't understand Chinese jade culture may be difficult to understand the meaning of "green jade". Gladys Yang translates it as "Emerald", which is interpreted as “precious green jewel”in Oxford Dictionary. From the perspective of language and culture translation, the meaning of "翠翠" is not fully embodied in "Emerald".So the conclusion can be made that although two versions both adopt free translation to achieve creative treason,they only understand the heroine name as a kind of precious jewel and may loss the essential connotation of the name. It seems that if the translation adopt transliteration to translate it as “CuiCui”,it can achieve better expression because this kind of translation not only reflects the beauty of the rhythm of the words, but also contains the meaning of the heroine name in the original work.

(6)Original:……这劲儿是一个黄花姑娘给他的(Shen Congwen,1987)!
Translation1:...He knew the eyes of a pretty girl were on him.(Gladys Yang &Yang Xianyi,1981）
Translation2:...He got it from a young maiden watching him from onshore! (Kinkley,2009)
In these two translation,"黄花姑娘" is translated into “a pretty girl” and “a young maiden”,which are not restricted to the language form and adopt creative treason because they delete the meaning of “黄花”.Free translation is adopted to eliminate the strangeness of the original words, so that the target readers can easily understand its meaning.In this example,free translation acts as a successful appliance of creative treason strategy as it expresses the original meaning free from original form.

In summary,during translation, if there is no substitute equivalent or similar to original meaning, or literal translation will lead to great differences in the final meaning, in order to prevent the target readers from misinterpreting the original meaning of Chinese, the translator can only use free translation, which is a method of "dynamic equivalence" striving to get the meaning and forget the form. Although it loses the appearance of the original work, but from the perspective of different contexts, it still keeps the content of the original and adapts to the style of the original.But not all appliance of free translation are suitable.So free translation,as a strategy of creative treason,should be applied carefully to gain best expression.

=5.2 Intentional Mistranslation and Omission=
Mistranslation and omission can be divided into unintentional mistranslation and omission and intentional mistranslation and omission. Unintentional mistranslation and omission is mainly caused by the translator's carelessness during the process of translation, or his poor foreign language skills, or insufficient understanding about the source culture and target culture. Intentional mistranslation and omission refers to the translation which aims to cater to the national cultural interest and it greatly changes the original language expression and cultural image(Xie Tianzhen,1994:128). Intentional mistranslation and omission is a kind of creative treason and a conscious change made by the translator to the original text. To a large extent, this kind of translation is a kind of recreation.

=5.2.1 Mistranslation=
Translators in different historical periods have their own translation purposes and concepts when translating Bian Cheng, so the intentional mistranslation in each translation version must have its own background. Intentional mistranslation, in a sense, is also a kind of rewriting and re-creation for a specific purpose.

(7)Original:《边城》(Shen Congwen,1987)
Translation:The Frontier City(Ching Ti & Robert Payne,1982)

The translation mode of The Frontier City by Ching Ti and Robert Payne is that Ching Ti completes the first draft because he is a Chinese, so he can understand the original text more accurately.And then Robert Payne polishes and finalizes the translation because he is a British, so he is more familiar with the target language. As a major translator, Ching Ti's cultural identity as a Chinese translator certainly is reflected in his translation.His translation purpose is:“In China you will find what Chinese people really are”.To that end, when translating ,he often discussed with Shen Congwen about the names of the people and place involved in this work. Ching Ti is Shen Congwen's friend and neighbor , which is an unique advantage of his translation in accurately understanding the original and being faithful to the original. Besides, as a Chinese translator, Ching Ti has full advantages in understanding the cultural images in Bianchneg.So sometimes he uses intentional mistranslations in his translation to achieve his translation purpose and perfect his translation(Deng Gaofeng,2019:49).

The translation of the name of Bian Cheng is "The Frontier City" which refers to "city", but actually it deviates from the meaning of Chadong, a small town at the junction of Hunan and Sichuan(originally "town") where the story takes place. It is obviously an intentional mistranslation and a kind of creative treason. The translator strives to build the image of Chadong as a city with normal administrative system in China(Xie Jiangnan、Liu Hongtao,2015:112).

(8)Original:"掌水码头的", "掌水码头的龙头大哥" ,"船总"(Shen Congwen,1987)
Translation:wharf master(Gladys Yang &Yang Xianyi,1981）

Gladys Yang, a British translator whose native language is English, has lived in China for a long time with her husband, Mr. Yang Xianyi, and worked in official translation agencies. She translates Bian Cheng out of the political need of "external publicity". Because it is a translation activity led by national institutions, she is bound to pay more attention to the internal political and cultural purposes of the source country than to the aesthetic taste and acceptance habits of the target readers(Xie Jiangnan&Liu Hongtao,2015:113). Due to the background of the times, when dealing with the political, military, religious and other language expressions of the "old society", she takes some intentional mistranslation out of ideological considerations.

In the original work, when introducing shunshun's identity, three different names are used: "掌水码头的", "掌水码头的龙头大哥" and "船总". In fact, these appellations all indicate that shunshun was the local leader of the folk organizations popular in Sichuan, Guizhou and Western Hunan during the late Qing Dynasty and the Republic of China. However, Gladys Yang translates these three names as "wharf master",which is obviously an intentional mistranslation due to ideological considerations.So it belongs to creative treason as it blur the definite translation of these name.It tries to beautify shunshun's identity in translation(Yang Jie,2019:126).

Lefevere once regarded translation as "rewriting"(Han Ziman&Liu Fang, 2005:100). Translation is a kind of rewriting of the original text(Lefevere,2004). Actually,rewriting is a kind of recreation and mistranslation which is not unfaithfulness to the original text but the translator's effort to achieve his personal translation purpose.It seems like unfaithfulness but actually a higher level of faithfulness.

=5.2.2 Omission=
Omission method means that words that do not conform to the thinking habits and language expressions of the target language are not translated in order to avoid redundancy. The translator sometimes uses the omission to omit the images that may cause confusion to the target language readers or achieve some translation purposes.The omission method is a selective translation made by the translator after consideration, which is a kind of creative treason.

(9)Original:"梁山好汉" 、 "狗咬吕洞宾"(Shen Congwen,1987)
Translation:不译(Ching Ti & Robert Payne,1982)
In order to meet the reading expectations of foreign readers at that time, Ching Ti pays more attention to the story plot of the work and the acceptability of the translation to foreign readers, so he omits some puns and historical allusions in the original because he thinks that western readers may not interested in it(Xu Huimin, 2010:223). So the complex Chinese proverbs such as "梁山好汉" and "狗咬吕洞宾" are directly omitted in the translation.These are creative treason because it omit content in the original work.

(10)Original:..... 便使人想起小说故事上梁红玉老鹤河时水战擂鼓，牛皋水擒杨幺时也是水战擂鼓(Shen Congwen,1987)。
Translation:...reminds you of some epic river battle of old.(Gladys Yang &Yang Xianyi,1981）
“梁红玉”and “牛皋”are classic characters in the Chinese popular novel Yue Fei Zhuan. The original text describes the intensity and noise of the Dragon Boat Race in the border city through the water battle scenes in these two ancient legends. Gladys Yang does not focus on the specific content, but aims to emphasize the intense stimulation of dragon boat race. Therefore, he omits the images that may cause the confusion to the target readers, and simply translates it as “some epic river battle of old”so as to facilitate the readers' reading and understanding.This belongs to creative treason because Gladys Yang delete some certain cultural connotation.

Omission is a kind of creative treason.It does not mean that translator can delete anything casually but instead he omits something not necessary or something not helpful for readers’ understanding after consideration.It is a little like mistranslation,both of which are strategies adopted by the translator to achieve specialized purpose.Although some content are deleted,it does not damage readers’ overall understanding of the original text and leads readers to read the text in the direction that the translator expects.

Above are some strategies of creative treason in English versions of Bian Cheng.There are also some other methods which are not noticed there.But no matter what kind of ways translators choose,they all aim to better translate the original article.The content of the original text and the translator’s own creation together make up the unique translation of the translator.Translation is a re-creation with its own and different strategies making for different style of re-creation.

=Chapter Six Conclusion=
Three versions of Bian Cheng all use numerous creative treason strategies in the process of translation.They may use different strategies when dealing with the original text,but their choice of creative treason all contribute to better translation.The translator is the subject of creative treason, and the translated work is the extension of the original life. After the translator's in-depth understanding and re-creation, whether the original author's ideas can be accurately conveyed to the readers, the translator plays a very important role in dealing with the cultural connotation and grasping the original.

Through detailed analysis of English versions of Bian Cheng,it can been seen that three translators all represent translator’s subjectivity and creative treason during the process of literary translation to express the essence of the original text.Their strategies of creative treason share similarities and differences.All translations capture a basically right understanding of the original culture and use numerous strategies to show these cultures to target readers.But there are still improper uses of creative treason which fail to illustrate the cultural connotation and make the translation deviate from the author’s original purpose. So the creative treason should be employed appropriately to benefit the spread of Chinese literature.

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= 周清: A study on the Translation Strategies from the perspective of Feminist Translation Theory: Taking ''Le Rouge et le Noir'' as an example =

===摘要===
女性主义翻译理论颠覆了基于结构主义的传统翻译理论为翻译界提供了新的视角并取得了丰硕的成果。目前学界对《红与黑》的研究主要集中在对主题意义的探寻和人物形象的解读方面。本文试图从小说叙述故事的结构角度切入，以司汤达的《红与黑》的两种译本为研究对象，通过运用女性主义翻译理论对司汤达的作品进行分析，旨在为司汤达的作品翻译提供一定的启示。第一章是引言，说明本文的研究背景和研究意义；第二章是理论框架，阐述了女性主义理论的背景及主要翻译策略；第三章是对司汤达作品的翻译策略进行研究，在女性主义翻译理论视角下对比分析两个译本；第四章对全文进行总结，通过研究发现女性主义翻译理论对于女性翻译者的指导作用。

===关键词===
女性主义翻译理论；《红与黑》；翻译策略；司汤达

===Abstract===
Feminist translation theory overturned the traditional translation theory based on structuralism, provided a new perspective for the translation industry and achieved fruitful results. The current academic research on ''Le Rouge et le Noir'' mainly focuses on the exploration of the theme's meaning and the interpretation of the characters. This article attempts to cut into the structure of the narrative story of the novel. It takes two translations of Stendhal’s ''Le Rouge et le Noir'' as the research object, and analyzes Stendhal’s works by applying feminist translation theory, aiming to provide Stendhal’s The translation of his works provides some enlightenment. The first chapter is the introduction, explaining the research background and significance of this article; the second chapter is the theoretical framework, explaining the background of feminist theory and the main translation strategies; the third chapter is the research on the translation strategies of Stendhal’s works. A comparative analysis of the two translations from the perspective of feminist translation theory; Chapter Four summarizes the full text and discovers the guiding role of feminist translation theory for female translators through research.

===Key words===
Feminist translation theory;Translation theory;''Le Rouge et le Noir'';Stendhal

===Introduction===
Stendhal was a great writer in the nineteenth century. He created many influential and subversive characters, such as Julien Saussure in ''Le Rouge et le Noir''. However, the female images in his works are often ignored by literary critics. This article attempts to analyze the different translation strategies of the two Chinese versions of ''Le Rouge et le Noir'' from the perspective of feminist translation theory, in order to make the translation more accurate and provide readers with a new perspective to understand the work.

====Research Background====
Feminist Tranlation Theory urges translators to reflect on female characteristics accurately by holding a feminist perspective. It is believed in feminist translation studies that language can actively interfere with the creation of meaning.

Feminism originated in liberal feminism in the 18th century. As a new school in the field of translation, Western feminist translation theory was introduced to China in the 1980s, but it has not attracted much attention from the translation community in our country.(蒋骁华,2004,04) Since 1999, some scholars realized that gender is also one of the factors that affect translation.(李晨,2011.) At the beginning of the 21st century, with the increasing frequency of international cultural exchanges and the increasing contact with various foreign translation schools, Chinese scholars began to really pay attention to feminist translation theories. Up till the end of 2013, 296 essays about femnist translaion theory have been published on CNKI, and translaton works and books about feminism translation theory have also been published. Speaking from translation criticism, there are not many works about feminism translation, but those works have reflected that the gender perspective has enlightened translation.

====Significance of the Research====
Stendhal play an important role from his contemporaries on the conception of romanticism. Although his works are accomplished during the Romantic Movement, which guard against his influence. Since the novel was translated and introduced to China, many scholars have conducted in-depth discussions on it from different angles and put forward many constructive points, which laid the foundation for our research and appreciation of this work.(陈颖,2008.) However, there are not many papers studying the translation of Le Rouge et le Noir from the perspective of translation, and few researchers have tried to use feminist translation theories to study the translation of female images in novels from the perspective of translation and cultural integration. Therefore, the author selects two Chinese translations of Le Rouge et le Noir as research objects, hoping to use feminist translation theory to explore the gender differences between male and female translators in their translations, and to explore whether the female images in the novel can be highlighted, what’s more this leads to new thinking on feminist translation theory and practice. The practice is not only applicable for the field in translation, but also can provide some reference for other fields.

====About the Translators and their Chinese Translation Versions====
''Le Rouge et le Noir'' as an excellent foundation work of critical realism literature, is famous for its literary and critical nature. (Babara Godard,1990.)The Chinese translation of the novel ''Le Rouge et le Noir'' occupies a very important position in the history of Chinese translation.
Generations of translators have devoted their efforts to its translation and re-translation. Especially in the 1980s and 1990s, the retranslation of ''Le Rouge et le Noir'' was a shocking event in the translation, reading and criticism circles. With the efforts of all translators, there are about 20 Chinese translations of the novel in the book market. It can be said that ''Le Rouge et le Noir'' is the most translated novel in China among foreign literary works.In order to make the contrast clearer and more intuitive, the author specially selects two representative translations: ''Le Rouge et le Noir'' by Mr. Zheng Kelu (published by Commercial Printing House) and ''Le Rouge et le Noir'' by Ms. Luo Xu (Published by Shanghai Literature and Art Publishing House) as the research object.

Zheng Kelu, a well-known translator in our country, as an outstanding representative of the Chinese translation industry, his translation works and academic thoughts are a monument in modern literature and translation circles. The total amount of his translation works has exceeded 15 million words, involving literary, theoretical and historical classics , There are more than ten thousand lines of poetry translation, and he presided over the editing and publishing of nearly 20 million words of foreign literary works, making a great contribution to the sinicization of French literary culture. Mr. Zheng's ''Selected Preface to French Short Stories'' won the second prize of Shanghai Social Outstanding Achievement Papers from 1986 to 1993, and ''History of French Literature'' (Volume 1 and Volume 2) won the first prize of Scientific Research Achievements of the Chinese Academy of Social Sciences in 1994 .

Luo Xu, a famous diplomatic translator in our country. She is engaged in translation work in English and French, and participated in the translation and revision work of ''The Complete Works of Balzac and Memoirs of De Gaulle''. She loves French literature, especially the works of George Sand, a famous French writer in the century, and Stendhal, a pioneer of French realism literature. She has translated and published novels such as ''Le Rouge et le Noir''. Based on the two Chinese translations, Zheng's translation is popular and accurate, and Luo's translation is lively and fluent, and both are the best translations. As for Mr. Zheng , who is a man, and Ms. Luo Xu, who is a woman, who are also fond of the works of French writer Stendhal, will gender differences affect their translations?

===Theoretical Framework===
Since the "cultural turn" in the century, translation studies from a cultural perspective have yielded fruitful results. （杨朝燕，刘延秀，2007，02.）People began to understand translation activities from multiple angles, and gender was gradually incorporated into translation theory and practice, thus forming a brand new translation theory—feminist translation theory.

====Origin and Development of Feministe Translation Theory====
With the development of feminism, the concept of gender has been brought into translation studies, helping scholars to take a new perspective at the relationship between original text and translated text. For a long time, traditional translation theories have been based on "faithfulness" and "equivalence."(哥校琴,2003,6.) The translator has always been in a passive position, and the translation has always been considered a vassal of the original. The translator is only engaged in derivative and non-creative activities. Its subjectivity is suppressed and cannot be manifested. However, feminist translation theory starts with the gender role of the translator, trying to break the traditional dualistic model of opposition and advocate the "symbiosis" of the original text and the target text. They advocate that female translators move from the periphery to the center, become the subject of translation activities, protect their right to speak, and highlight the female figure in the translation as much as possible.

====Strategies of Feminist Translation Theory====
In order to highlight the subjectivity of women as much as possible, and to intervene and rewrite the translated text with feminism as its value orientation, feminist translators give full play to the role of translator's subjectivity. They generally use three translation strategies to complete their "rewriting" process: supplementing, prefacing and footnoting, hijacking or appropriation .

“Supplementing” is to compensate the way the original text expresses the gender meaning, and to make up for the difference between the two languages (the original language and the target language). By supplementing the differences between the source language and the target language, the translator intervenes in the original text, and the translator's ideas can penetrate into the translation. For example, someone created a new word auther in English to translate French autheure and so on.

“prefacing and footnoting” means that female translators can intervene in the original text, explain and describe the intention of the original text, and at the same time explain the purpose of their material selection and translation, as well as translation strategies. Feminist translation theorist Simon believes that these descriptions and explanations highlight the translator's desire for people to pay attention to their feminist status, or more precisely, feminist status.（Butler, J. Gender，1999.）

===Three Analyses on Translation Strategies of Le Mare Diable from the Feminist Perspective===
''Le Rouge et le Noir'' is the representative work of French writer Stendhal. The novel can be said to be a love novel, but it is not a simple love novel. Stendhal reflects the cruel reality of feudal society by telling the two love stories of the protagonist Julien. The two heroines have completely different personalities and represent different aristocratic classes. Feminist Translation Theory mainly entails translation from the feminist perspective. In the practice of interpretation, female translators can make sure women’s speech right by using a variety of language strategies. This chapter will analyze Luo's translation strategy from the perspective of feminist translation theory.

====Footnoting====
“Prefacing and Footnoting” is one of the techniques often used by feminist translators. After observing the text, it is found that no matter it is the translation of Ms.Luo or Mr.Zheng, there is no preface by the translator, and the strategy of adding a foreword is not shown in this translation comparison. This strategy of Footnoting is more obvious in Luo's translation. Due to many differences in history, culture, and customs, there are often allusions, common sayings, names, etc. in foreign novels that are difficult for Chinese readers to understand. Footnotig can help explain the original text and enable readers to better understand the original text.

Example1:Cet inconvénient, senti par tous, mit M. de Rênal dans l'heureuse nécessité d'immortaliser son administration par un mur de vingt pieds de hauteur et de trente ou quarante toises de long.（Stendhal，2008,2）

Luo: 这种困难给了德·瑞那先生一个很好的扬名机会，他建筑了一段二十英尺高、三十到四十特瓦兹①长的宽厚堤墙。

① 特瓦兹（Toise）：法国古度名，约合一点九四九米，大约等于六市尺。（罗旭译,2007，7）

Example2:Prenez garde, mon enfant, à ce qui se passe dans votre cœur, dit le curé, fronçant le sourcil ; je vous félicite de votre vocation, si c'est à elle seule que vous devez le mépris d'une fortune plus que suffisante.

Luo: “我的孩子，注意，注意你的脑筋里想了些什么。”教士皱着眉头说道，“你为宗教而舍身①，我真庆幸你有这点灵性。”

①指于连想当神父，这和东方出家当和尚差不多。(罗旭译,2007,49)

Example3:Ce refus de tutoiement, cette façon brusque de briser un lien si tendre, et sur lequel il comptait encore, portèrent jusqu'au délire le transport d'amour de Julien.

Luo: 这种亲密的称呼的拒绝①，粉碎如此温柔的联系的急遽方式，可是他还沉醉在这种联系里，这反而使于连爱恋的快乐达到巅峰的程度。

①德·瑞那夫人在上节的谈话里，称呼于连是用第二人多数而不是第二人单数，这种语调，含有拒绝之意。(罗旭译,2007,224)

Example4:Voilà donc la cause de la froideur de tes lettres ! s'écria Mathilde avec l'accent de la folie plus que de la tendresse.（Stendhal，2008,223）

Luo: “所以，那就是‘你’在回信里冷酷的原因了。”玛特儿叫道。她的声调与其说是温柔的不如说是疯狂的。

①“你”：法国人用单数的你，表示亲昵，玛特儿第一次这样称呼于连。（罗旭译,2007,345）

The above are examples of adding footnotes in Luo's translation, including explanations of the source of the names of people and books in the original text, and explanations of allusions.
“Footnoting” is an important way for translators to intervene in the text, and it is also one of the common methods used by feminist translators. It achieves the purpose of establishing a cognitive bridge between the author, the translator and the reader through supplementary interpretation of the original text.（Flotow, Louise Von. 2004，29） It is the most intuitive embodiment of the translator's subjective initiative. However, comparing Luo's version with Zheng's version, it is found that Zheng's version also adopts the same strategy of adding footnotes, although the way and position of adding annotations are not the same. At the same time, we can also observe some Chinese translations of novels, regardless of whether the translator is male or female, there are also footnotes added. Therefore, the author believes that footnoting is indeed one of the translation techniques that female translators love, but it is not a strategy dedicated to feminist translation. Only when it reflects feminist tendencies, that the strategy is applied to feminism, the field of translation is more meaningful.

====Supplementing====
"Supplementing" is a translation strategy that compensates for the differences between the two languages. Western feminists often emphasize compensating for the gender differences in the original work, awakening people's awareness of gender oppression, and resisting the dominance of patriarchal culture and patriarchal language. When the original text involves the description of female images and the description of the psychological activities of men and women in love, Luo's translation always boldly adopts the "addition" translation strategy commonly used by feminist translators. However, Luo's translation did not interfere with the original text as much as Western feminists did when using this strategy. Instead, it focused on subtleties to make up for the lack of gender awareness in the original text. On the basis of not rewriting the original text drastically, Luo's translation compensates for the differences between Chinese and Western cultures, highlights the female image of the original text, and inadvertently demonstrates the translator's female identity.

Example1:Tourmentée par l'idée de la pauvreté de Julien, Mme de Rênal parla à son mari de lui faire un cadeau de linge.(p.22)

Luo：于连贫穷的景象，把她心里幽静的世界扰乱了，她忍不住向她丈夫请求，买一些常用的换洗衣物给他。（罗旭译,2007,39）

Zheng：德·雷纳尔夫人牵挂着于连的贫穷，同丈夫谈起要送给于连内衣。（郑克鲁译，2018，42）

Comparing the two translations, it can be seen that Luo's translation has more words "把她心里幽静的世界扰乱了" than Zheng's version. By referring to the original text "Tourmentée par l'idée de la pauvreté de Julien", it is found that Zheng's translation is completely faithful to the original text., literally translated as “德·雷纳尔夫人牵挂着于连的贫穷”, but the original text does not describe inner activity of Madame de Rênal. Luo added this sentence “把她心里幽静的世界扰乱了” in her translation,which is an in-depth interpretation of the heroine's psychology from a female standpoint. From the perspective of the translator, she firmly grasped Madame de Rênal's inner contradiction through "Supplementing" and presented it to the readers more clearly, allowing the readers to feel the inner world of the protagonist more clearly. In this process, the translator is no longer invisible, but intervenes himself in the translation, adding his own understanding and interpretation of the original work, and carrying out meaning innovation or text reconstruction, highlighting his own subjective status.

Example2:Les flatteries précoces dont elle avait été l'objet, en sa qualité d'héritière d'une grande fortune, et un penchant décidé àla dévotion passionnée, lui avaient donné une manière de vivre tout intérieure.

Luo：因为她是一位极富的产业的承继人，所以在幼年时代，她早已经是众人阿谀逢迎的对象。再者她生来便具有热情、信心和狂热殉道的倾向，因此使他倾向于精神生活。（罗旭译,2007,40）

Zheng：她是一大笔财产的女继承人，过早收到阿谀奉承，况且她笃信宗教，形成完全内向的生活方式。（郑克鲁译，2018，42）

This passage is a description of the image of Madame de Rênal. The heroine has a superior life since childhood and inherited a large inheritance. It can be said that she has never suffered from life and does not understand the detachment of the extreme cold of the world. Luo's translation adopts the "Supplementing" strategy, which makes the image of Mrs. Drenaa more vivid and lively.

Example3:Un éclat de rire grossier, un haussement d'épaule, l'accompagné de quelque maxime triviale surla folie des femmes, avaient constamment accueilli les confidences de ce genre dechagrins, que le besoin d'épanchement l'avait portée à faire à son mari, dans les premières années de leur mariage.

Luo：他们新婚的几年内，她心里有这类的不快意时，常常向她丈夫倾诉。因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要。然而当她倾诉时，她所得到的回答，常常是粗鲁的笑声，和肩头的一耸。（罗旭译,2007,41）

Zheng: 在结婚的头几年，她要倾吐衷肠，便把这类烦恼悄悄地告诉她的丈夫，但是迎来的却经常是哈哈大笑。（郑克鲁译，2018，43）

Comparing with Zheng's translation, it is obvious that Luo's translation has added the sentence “因为一个心里痛苦的人，有向亲人倾诉心底秘密的必要”, this sentence is not in the original text. In the process of translation, the translator modified the original text and even added words that did not exist in the original text because the target of the description was women and he was familiar with the situation. After supplementing the words, readers can better understand the necessity of Madame de Rênal's wanting to confide in her husband, but she cannot get a response from her husband. The addition of this sentence not only enriched the original text, but also Lay the groundwork for the following that Madame de Rênal derailed by Julien. Only women understand women better. Most women may have experienced this kind of psychology of Madame de Rênal. Therefore, Luo Xu is more handy when portraying as a female translator. The translation of Luo, which is a female translation, is more sensitive to Madame de Rênal psychology. It is not surprising that Luo's translation portrays heroine's psychological activities so vividly.

Example4:Voilà,se dit Mathilde, qui prouve joliment ma maxime : La haute naissance ôte la force de caractère sans laquelle on ne se fait point condamner à mort .

Luo: 高贵的出生，摧毁了人的性格和力量，没有这力量，人们便不会自己甘愿领受死刑了。我今晚特别敏感，注定了要想起许多没有道理的事情。（罗旭译,2007,294）

Zheng: 出身高贵祛除了性格的坚毅，而没有性格坚毅，就决不敢去赴死。那么，我今晚注定要胡思乱想。（罗旭译,2007,323）

In the novel ''Le Rouge et le Noir'', Miss de La Mole was born a nobleman and loved by her family. She was the jewel in the palm of the marquis' father. At the ball, she was the queen. The young talents worshipped her beauty, but Julien's disdain made her annoyed. The more disinterested she is, the more she wants to conquer him.

Compared with the literal translation of Zheng's translation, the supplementary sentence “我今晚特别敏感”in Luo's translation shows the heroine's boring feeling at the prom and the confusion about the future. At the same time, Readers can clearly feel her delicate feelings and erratic temperament from this sentence.

In summary, through comparison, it is found that Luo's translation adopts the strategy of "Supplementing" in many places. Since there is no obvious gender oppression and gender discrimination in the original text, the feminist ideas in Luo's translation are more embodied in the portrayal of women's images and the description of the psychological activities of the characters. Stendhal is a male writer, but the women in his works have obvious rebellious characteristics of that era. Therefore, how to express the female characters in the original novel is very important to the translator, and it is even related to the success or failure of the translation. Female translators used "Supplementing" to highlight the image of women, successfully conveying the feelings that the original author wanted to express, and implicitly metaphors the translator's female identity, thereby "making women more understood and seen."

====Hijacking====
Compared with Western Feminist translators who consciously and politically change or rewrite the translation, most of the changes made by the translator in this article are based on the translation of the original work or based on the target language habits, target language style, aesthetic standards, etc. . The last "hijacking" of feminist translation strategies is often used by some radical feminist translators. In order to question the gender meaning of the original text, they misappropriated texts with no feminist intentions and adopted creative translation methods to rewrite the texts. Therefore, this strategy is often controversial. After observation, there is almost no such manipulation of the original text in Luo's translation, so the last translation technique will not be discussed here.

===Conclusion===
Feminist translation theory has injected fresh blood into today's translation studies. It uses translation as a breakthrough to introduce individual issues into the social and cultural field, with the goal of fighting for the rights of women, so that more women can be respected and understood. The main contributions of feminist translation theory to the field of translation research and translation practice include: redefining the status of translators and translations, exploring translation activities from a new perspective, and new interpretations of some basic translation issues such as the concept of "faithfulness", etc. . Under the influence of feminist translation theory, translation is no longer a simple act of language conversion, but an active rewriting activity that combines multiple factors such as authorship, translator's identity, ideology, and reader experience. Feminist translators use various translation strategies such as "footnoting", "supplementing", "hijacking" and other translation strategies to incorporate feminist ideas into their translations, so that women's figures can be seen as much as possible, and their voices can be heard as much as possible. Combining feminism with literary translation is an important way to realize the new development of feminist translation theory. The difference between literature and practical style is that it emphasizes "individuality"-the author's creation, the translator's creative translation, and the reader's interpretation with personal emotions. Since translation is a second creation, it will naturally incorporate the translator's personal factors and become the translator's reflection of himself, thus showing various differences.

====Major Findings of the Study====
Through a comparative study of the two Chinese versions of Le Rouge et le Noir, it is found that there are gender differences between Zheng's version and Luo's version. Ms. Luo Xu’s gender identity has a significant impact on her translation, enabling the author to more closely grasp the original author’s thoughts and the psychology of female readers in the nuances of the text’s meaning, making the translation present a feminist color. However, this kind of feminism is different from Western feminism. It is gentle and natural. It does not adopt too many feminist translation strategies. Instead, it pays more attention to improving the status of women, portraying female psychology, and highlighting female images in wording and sentence making. In this way, it reflects the translator's dominant position and realizes women's self-identity and social identity.（周建军，张顺生,2019，10.）

All in all, Western feminist translation theories have gradually been "sinicized" in the process of being introduced into China: "faithfulness" is still the main translation criterion. Through the grasp of vocabulary, tone and other details to shape the image of women, praise the beauty of women, and then express their feminist tendencies. The main reasons for this difference between China and the West can be analyzed from the following two aspects: First, different national conditions and backgrounds. The dictatorship of feudal culture for more than two thousand years has made Chinese women more restrained, making them still subconsciously influenced by traditional ideas and dare not express their true desires. The second is the difference in language and culture. The implicit, euphemistic, and affectionate features of the Chinese language have determined that Chinese female translators express their feminist ideas more often through wording, making sentences and shaping female characters.

====Limitations of the Study====
The author believes that regardless of whether it is a feminist avant-garde work, translations of different genders can convey a certain gender color. Feminist translation view can play a very good interpretive role in the interpretation of literary works, especially when it comes to the analysis of female images. This enlightens us that when shaping female images in the translation process, translators should strive to cultivate their own gender awareness and actively move closer to the gender perspective in the original text, so as to achieve a more perfect translation effect. Even male translators should try their best to look for female perspectives and penetrate into female psychology in the process of translating female works.（Lefevere, A.2016.） Only in this way can they be considered faithful to the original work and the original author and serve half of the female readers. Of course, for feminist translation theory, we should also critically inherit and discard the too subjective and radical ideas in it, so that the theory can better guide our country's translation practice of foreign literature, so as to achieve longer-term development.

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