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<p>He Qin: /* 4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded Words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, 202120081489, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant features is that ''Chu Ci'' is of much regional color of the Chu State, where the Hu Xiang culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Translation; Culture-loaded words;Chinese Classics; Hu Xiang Culture; Cultural Image <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> Qu Yuan is the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and starts the tradition of &quot;herb and beauty&quot;.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:25, 14 December 2021 (UTC)<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011, master thesis no page number) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing, 2010,master thesis no page number)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009,master thesis no page number)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011,master thesis no page number)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in ''Jiu Zhang'' are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (Wan Li，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his old compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> <br /> <br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> <br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> <br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=20211229_homework&diff=134672 2021-12-29T08:41:55Z

<p>He Qin: /* 何芩 Hé Qín 翻译学 女 202120081489 */</p> <hr /> <div>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]]<br /> <br /> PLEASE READ [[Joint_translation_terms|Joint translation terms]] <br /> <br /> 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.<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 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”。<br /> <br /> 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,&quot;I heard that a saint has seven hole in his heart.&quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)<br /> <br /> 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, &quot;I heard that the heart of Bigan.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 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。​<br /> <br /> 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。<br /> <br /> 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: &quot;Xi Shi frowns (frowns) when she is ill&quot;, which increases her beauty.​<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)<br /> <br /> The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​<br /> Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &quot;Xi Shi frowns (frowns) when she is ill&quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 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。​<br /> Therefore, Mascara Jade Forest is described as weak and beautiful by &quot;sick as Xizi wins three points&quot;. Next, Precious Jade Merchant wrote &quot;Pingping&quot; for Mascara Jade Forest. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> 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。​<br /> <br /> “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：<br /> <br /> Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &quot;Jiuda&quot;. Later, the big families followed the suit. ​<br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Village Residence Book Xi&quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini<br /> <br /> 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.<br /> <br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Book of Happiness Living in Village&quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> “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。”<br /> <br /> 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)<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 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。​<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 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。]<br /> <br /> Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 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。<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 指子女早晨向父母请安问候的礼节。​<br /> <br /> 第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案<br /> <br /> It refers to the politeness children greet their parents in the morning.<br /> <br /> 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)<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 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。<br /> <br /> <br /> <br /> <br /> 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.<br /> 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)<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 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。<br /> <br /> <br /> 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)<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 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；<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 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？”<br /> <br /> 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!&quot; &quot;This is a scandal!&quot; fumed Rainvillage Merchant. &quot;How can men commit a murder and go without punishment?&quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 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<br /> <br /> 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)<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 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？”<br /> 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: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)<br /> <br /> He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 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。<br /> <br /> Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)<br /> <br /> Yue-ts'un said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yue-ts'un felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 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。<br /> <br /> It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)<br /> <br /> The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 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。<br /> <br /> Hastily taking his hand, he smilingly said, &quot;You are, indeed, an old acquaintance!&quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &quot;Friendships,&quot; Yue-ts'un remarked, putting on a smiling expression, &quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 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’？”<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the passport just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &quot; Yu-tsun was confused and thus continued, &quot;guard officer?&quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the warrant just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &quot; Yu-tsun was confused and thus continued, &quot;What's the protection charm?&quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 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！<br /> <br /> 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)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 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。”<br /> <br /> “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)<br /> 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. &quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 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。<br /> On the one hand, while taking out a copy of the &quot;protection charm&quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 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。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 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。<br /> Yucun has not finished reading, suddenly smell spread point, report: &quot;Wang master came to visit.&quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)<br /> <br /> Yucun has not finished reading, but suddenly heard from the messenger saying : &quot;Wang master come to visit.&quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &quot;the four families are closely connected, so do their honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 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？<br /> <br /> 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?&quot; Rain village heard, then smiled and asked Siemens way: &quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 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：<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 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。<br /> <br /> 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<br /> <br /> 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)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 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！<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 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。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 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。<br /> <br /> <br /> <br /> 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)<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 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。’<br /> <br /> 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 &quot;I don’t remember what happened when I was a child&quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)<br /> <br /> 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)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 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。<br /> <br /> <br /> <br /> <br /> <br /> 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)<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 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？<br /> <br /> “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)<br /> <br /> “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)<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 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？<br /> <br /> 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?&quot; The servant said with a smile, &quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)<br /> <br /> 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)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 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。”<br /> <br /> 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)<br /> <br /> I heard that you got a promotion additionally with the help of Jia Mansion and Wang Mansion. Dragon Marshgrass is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)<br /> <br /> &lt;nowiki&gt;Insert non-formatted text here&lt;/nowiki&gt;<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 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：<br /> <br /> Yucun says: &quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)<br /> <br /> Rain Village Merchant said:&quot; What you said is right, but it is a matter of life. I am so grateful that the emperor can restore me to the commission. It's the time when I need to try my best to repay it, how can I ignore the law for personal gain? It is really unbearable.&quot; Hearing this, the doorman said with a sneer: --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 07:51, 29 December 2021 (UTC)<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> “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。”<br /> <br /> “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)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 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。<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 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。<br /> <br /> 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 &quot;violent illness&quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 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：<br /> <br /> 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 Xue Pan 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)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 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。<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 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。<br /> <br /> The lord thought carefully, and asked how about this plan? Yucun 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, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)<br /> What about this plan, Master?&quot; Yu Cun laughed, &quot;No, it's not good. I'll have to think about it again, so that I can convince them.&quot; The two of them agreed on a plan. The next day they sat in the courtroom and took a number of famous criminals, and Yu Cun interrogated them in detail.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 08:24, 29 December 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 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。<br /> The Feng family, with a small population, wanted to get some silver to burn and bury, but the Xue family, relying on their power and affection, did not give in: so the case was reversed. The Yu Cun family then bent the law and judged the case haphazardly.<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 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。<br /> <br /> The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &quot;nephew has finished, do not have to worry about&quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 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。<br /> <br /> It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 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；<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 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。<br /> <br /> 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 Xue Pan, 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.<br /> <br /> 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 Xue Pan, 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)<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 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。<br /> <br /> 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 .<br /> <br /> Besides, she has a daughter, whose small name is Bao Chai, two years younger than Xue Pan.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 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。<br /> <br /> 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.<br /> --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)<br /> <br /> 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)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 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。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 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。<br /> <br /> Xue pan, 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 Yinglian. Seeing that Yinglian was pretty, Xue pan 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)<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> <br /> 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)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 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。”<br /> <br /> 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:&quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&quot;<br /> <br /> 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: &quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 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？”<br /> <br /> So he discussed with his mother, &quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&quot; His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan<br /> <br /> So he discussed with his mother, &quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 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？”<br /> <br /> 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)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 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。<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 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：<br /> <br /> 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 <br /> 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)<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 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？”<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 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。<br /> 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.<br /> <br /> 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)<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 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。”<br /> <br /> 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: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)<br /> <br /> 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: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 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。<br /> <br /> 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, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)<br /> <br /> 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, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 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。”<br /> <br /> “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)<br /> <br /> “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)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 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。”<br /> <br /> 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, &quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&quot;<br /> <br /> 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, &quot;the Marshgrass family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 07:52, 29 December 2021 (UTC)<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 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；<br /> <br /> There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)<br /> <br /> There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 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；<br /> <br /> During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.<br /> <br /> 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)<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 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。<br /> <br /> 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.<br /> 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)<br /> <br /> At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 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；<br /> Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.<br /> <br /> Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 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：<br /> <br /> Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:<br /> <br /> ==Nadia 202011080004==<br /> <br /> 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。<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 日后如何，下回分解。葫芦僧判断葫芦案──<br /> <br /> ==Mariam Toure 2020GBJ002301==<br /> <br /> “葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 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。<br /> <br /> 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.<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 女子无才便是德──语出明·张岱《公祭祁夫人文》：<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> “(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> (又见清·石成金《家训钞》引)<br /> Translation: (See also the quote from Shi Chengjin's &quot;Family Instructions&quot;)<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 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。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 《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。<br /> English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of <br /> <br /> virtuous women in past dynasties to publicize the feudal virtues of women.<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 《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。<br /> <br /> ==Öncü 202121080008==<br /> <br /> 《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。​<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> &quot;Biographies of Exemplary Women&quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 纺绩女红(gōng工)──泛指女子应做的家务活计。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。<br /> <br /> ''Fangji'': &quot;Fang&quot; means to spin silk into yarn, &quot;Ji&quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)<br /> <br /> ''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)<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 女红：又作“女工”或“女功”。<br /> <br /> Female Red (''gong''): is also known as &quot;female worker&quot; or &quot;female performer&quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 是指纺织、缝纫、刺绣等。</div>

He Qin https://bou.de/u/index.php?title=20211229_homework&diff=134466 2021-12-29T03:55:23Z

<p>He Qin: /* 宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488 */</p> <hr /> <div>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]]<br /> <br /> PLEASE READ [[Joint_translation_terms|Joint translation terms]] <br /> <br /> 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.<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 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”。<br /> <br /> 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,&quot;I heard that a saint has seven hole in his heart.&quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 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。​<br /> <br /> 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。<br /> <br /> The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​<br /> Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &quot;Xi Shi frowns (frowns) when she is ill&quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 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。​<br /> Therefore, Dai Yu is described as weak and beautiful by &quot;sick as Xizi wins three points&quot;. Next, Jia Baoyu wrote &quot;Pingping&quot; for Lin Daiyu. 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)<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> 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。​<br /> <br /> “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：<br /> <br /> Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &quot;Jiuda&quot;. Later, the big families followed the suit. ​<br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Village Residence Book Xi&quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini<br /> <br /> 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.<br /> <br /> The sentence &quot;flower spirit attacks people&quot; is half of a sentence in &quot;Book of Happiness Living in Village&quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)<br /> <br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> “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。”<br /> <br /> 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)<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 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。​<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 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。]<br /> <br /> Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 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。<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 指子女早晨向父母请安问候的礼节。​<br /> <br /> 第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案<br /> <br /> It refers to the politeness children greet their parents in the morning.<br /> <br /> 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)<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 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。<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 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。<br /> <br /> <br /> 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)<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 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。<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 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；<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 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？”<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 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<br /> <br /> 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)<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 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？”<br /> 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: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)<br /> <br /> He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &quot;the master has been adding officials into the salary, eight or nine years, forget me?&quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 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。<br /> <br /> Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 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。<br /> <br /> It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)<br /> <br /> The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 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。<br /> <br /> Hastily taking his hand, he smilingly said, &quot;You are, indeed, an old acquaintance!&quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &quot;Friendships,&quot; Yue-ts'un remarked, putting on a smiling expression, &quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 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’？”<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the passport just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &quot; Yu-tsun was confused and thus continued, &quot;guard officer?&quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)<br /> <br /> Chia Yu-tsun asked, &quot;Why did you not grant me the warrant just now?&quot; The doorman answered that &quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &quot; Yu-tsun was confused and thus continued, &quot;What's the protection charm?&quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 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！<br /> <br /> 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)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 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。”<br /> <br /> “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)<br /> 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. &quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 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。<br /> On the one hand, while taking out a copy of the &quot;protection charm&quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 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。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 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。<br /> Yucun has not finished reading, suddenly smell spread point, report: &quot;Wang master came to visit.&quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)<br /> <br /> Yucun has not finished reading, but suddenly heard from the messenger saying : &quot;Wang master come to visit.&quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &quot;the four families are closely connected, so do their honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 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？<br /> <br /> 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?&quot; Rain village heard, then smiled and asked Siemens way: &quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 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：<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 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。<br /> <br /> 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<br /> <br /> 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)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 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！<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 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。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 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。<br /> <br /> <br /> <br /> 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)<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 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。’<br /> <br /> 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 &quot;I don’t remember what happened when I was a child&quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)<br /> <br /> 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)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 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。<br /> <br /> 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 Xue.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 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。<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 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？<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> <br /> 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。<br /> <br /> <br /> <br /> <br /> <br /> <br /> Yinglian has been tortured by human traffickers for several years before she can finally get rid of it. Although Xue Pan 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)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 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？<br /> <br /> 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?&quot; The servant said with a smile, &quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)<br /> <br /> 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)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 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。”<br /> <br /> I heard that you respected master assumed office with the help of Jia Mansion and Wang Mansion. Xue Pan is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 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：<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> “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。”<br /> <br /> “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)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 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。<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 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。<br /> <br /> 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 &quot;violent illness&quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 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：<br /> <br /> 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 Xue Pan 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)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 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。<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 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。<br /> <br /> The lord thought carefully, and asked how about this plan? Yucun 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, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 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。<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 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。<br /> <br /> The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &quot;nephew has finished, do not have to worry about&quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 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。<br /> <br /> It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 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；<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 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。<br /> <br /> 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 Xue Pan, 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.<br /> <br /> 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 Xue Pan, 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)<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 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。<br /> <br /> 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 .<br /> <br /> Besides, she has a daughter, whose small name is Bao Chai, two years younger than Xue Pan.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 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。<br /> <br /> 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.<br /> --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)<br /> <br /> 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)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 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。<br /> <br /> 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 renowr 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)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 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。<br /> <br /> Ever since the death of Xue Pan's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Xue Pan 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)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 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。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 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。<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 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。”<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 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？”<br /> <br /> So he discussed with his mother, &quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&quot; His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan<br /> <br /> So he discussed with his mother, &quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &quot;Why do you have to be so flashy? &quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 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？”<br /> <br /> 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)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 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。<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 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：<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 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？”<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 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。<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 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。”<br /> <br /> 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: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)<br /> <br /> 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: &quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 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。<br /> <br /> Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)<br /> <br /> Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 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。”<br /> <br /> “We have a room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia 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)<br /> <br /> “We have dozens of room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia 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]]) 02:51, 26 December 2021 (UTC)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 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。”<br /> <br /> Aunt Xue 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. So he agreed. She said to Mrs. Wang privately, &quot;The Xue family will pay for all the supplies in the Jia mansion by themselves. This is the only way to get along with them for a long time.&quot;<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 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。<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 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；<br /> <br /> There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)<br /> <br /> There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 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；<br /> <br /> During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 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。<br /> <br /> 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.<br /> But, contrary to expectation， for not over a month， Hsueeh P'an came to be on intimate relations with all the young men among the kindred of the Chia 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)<br /> <br /> At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 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；<br /> Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.<br /> <br /> Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 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：<br /> <br /> Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:<br /> <br /> ==Nadia 202011080004==<br /> <br /> 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。<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 日后如何，下回分解。葫芦僧判断葫芦案──<br /> <br /> ==Mariam Toure 2020GBJ002301==<br /> <br /> “葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 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。<br /> <br /> 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.<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 女子无才便是德──语出明·张岱《公祭祁夫人文》：<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> “(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> (又见清·石成金《家训钞》引)<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 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。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 《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。<br /> English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of <br /> <br /> virtuous women in past dynasties to publicize the feudal virtues of women.<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 《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。<br /> <br /> ==Öncü 202121080008==<br /> <br /> 《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。​<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 纺绩女红(gōng工)──泛指女子应做的家务活计。<br /> <br /> 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)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。<br /> <br /> ''Fangji'': &quot;Fang&quot; means to spin silk into yarn, &quot;Ji&quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)<br /> <br /> ''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)<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 女红：又作“女工”或“女功”。<br /> <br /> Female Red (''gong''): is also known as &quot;female worker&quot; or &quot;female performer&quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 是指纺织、缝纫、刺绣等。</div>

He Qin https://bou.de/u/index.php?title=20211222_homework&diff=134375 2021-12-27T03:31:07Z

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

He Qin https://bou.de/u/index.php?title=20211222_homework&diff=134214 2021-12-22T12:40:19Z

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

He Qin https://bou.de/u/index.php?title=20211222_homework&diff=134213 2021-12-22T12:38:55Z

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

He Qin https://bou.de/u/index.php?title=20211222_homework&diff=134212 2021-12-22T12:34:26Z

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

He Qin https://bou.de/u/index.php?title=20211222_homework&diff=134199 2021-12-22T12:18:22Z

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

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=134031 2021-12-19T14:47:21Z

<p>He Qin: /* 4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant features is that ''Chu Ci'' is of much regional color of the Chu State, where the Hu Xiang culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Translation; Culture-loaded words;Chinese Classics; Hu Xiang Culture; Cultural Image <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> Qu Yuan is the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and starts the tradition of &quot;herb and beauty&quot;.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:25, 14 December 2021 (UTC)<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011, master thesis no page number) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing, 2010,master thesis no page number)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009,master thesis no page number)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011,master thesis no page number)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in ''Jiu Zhang'' are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (Wan Li，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his old compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> <br /> <br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> <br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> <br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=134030 2021-12-19T14:44:45Z

<p>He Qin: /* 4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant features is that ''Chu Ci'' is of much regional color of the Chu State, where the Hu Xiang culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> Qu Yuan is the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and starts the tradition of &quot;herb and beauty&quot;.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 07:25, 14 December 2021 (UTC)<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011, master thesis no page number) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing, 2010,master thesis no page number)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009,master thesis no page number)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011,master thesis no page number)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in ''Jiu Zhang'' are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (Wan Li，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his old compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> <br /> <br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> <br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> <br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=20211215_homework&diff=133263 2021-12-15T06:39:44Z

<p>He Qin: /* 宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488 */</p> <hr /> <div>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]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 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。​<br /> <br /> 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.<br /> ----<br /> <br /> <br /> 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.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 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。<br /> <br /> Grasping -- namely &quot;grasping the week&quot;, also known as &quot;trying the child&quot; and &quot;trying the week&quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)<br /> <br /> Catch ─ ─ means &quot;catch the week&quot;, also known as &quot;test&quot; and &quot;test week&quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 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。”<br /> <br /> It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> (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。<br /> <br /> <br /> == Headline text ==<br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> 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。”​<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 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。<br /> <br /> Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 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；<br /> 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)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 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；<br /> <br /> 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.<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 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；<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 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；<br /> <br /> <br /> 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)<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 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。​<br /> <br /> 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 &quot;The Western Chamber&quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 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”。​<br /> <br /> 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.”<br /> <br /> 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)<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 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。<br /> <br /> It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&quot; and Liu Yiqing's &quot;Shi Shuo Xin Yu · Elegance&quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)<br /> <br /> It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&quot; and Liu Yiqing's &quot;Shi Shuo Xin Yu · Elegance&quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 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。​<br /> <br /> 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 &quot;East Bed&quot;, &quot;East Bed Man Showing Belly&quot;, &quot;East Bed Guest&quot;, &quot;East Bed Distinguished Guest&quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 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。<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 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。”<br /> 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, &quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 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”。<br /> <br /> 第三回<br /> <br /> 托内兄如海荐西宾 接外孙贾母惜孤女<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 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。<br /> <br /> 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.<br /> <br /> 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)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 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。<br /> <br /> 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. &quot;Providence and good fortune are both alike propitious!&quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 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；<br /> <br /> “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)<br /> <br /> “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)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 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。<br /> <br /> “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)<br /> <br /> 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. &quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 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；<br /> Ruhai also said: &quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 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。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 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。<br /> 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)<br /> <br /> One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 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。<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 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。”<br /> <br /> 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 &quot;Ningguo Mansion&quot;. &quot;That must be grandfather's the first son's mansion.&quot;Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei<br /> <br /> 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 &quot;Ningguo Mansion Built at Imperial Command&quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 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。”<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 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。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 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。<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 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。<br /> <br /> 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. &quot;Of all my chilren I loved your mother best,&quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> &quot;Once she died before me, it is so sad that I could not see her again.&quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 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。<br /> <br /> So they asked:&quot; What medicine do you usually take? Why doesn't it work?&quot; Daiyu replied:&quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)<br /> <br /> They then asked, &quot;What medicines do you take regularly? Why can't you cure your illness?&quot; Daiyu said, &quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 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。<br /> <br /> The monk said, &quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 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？”<br /> <br /> Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&quot; What a coincidence! The pills are making now, I just tell them to add one.&quot; The words have not been finished, but there is a laugh in the back yard, which said:&quot; I come late and fail to welcome our distinguished guest.&quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)<br /> <br /> Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&quot; The words are not finished, but there is a laugh in the back yard, which said:&quot; I am late and fail to welcome our distinguished guest.&quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 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。”<br /> <br /> 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, &quot;You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)<br /> <br /> 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)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 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。<br /> <br /> 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:&quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)<br /> <br /> 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:&quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> 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。”<br /> <br /> I pity my sister for being so miserable, how could my aunt died so early?&quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)<br /> <br /> I pity my sister who is so miserable, how could my aunt have died?&quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 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。<br /> <br /> 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!&quot; He also took Daiyu's hand and asked, &quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 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。”<br /> <br /> Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &quot; Daiyu nodded one by one. On one side, Xifeng asked, &quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)<br /> <br /> 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. &quot; Daiyu nodded one by one. At the same time, Xifeng asked, &quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 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！”<br /> <br /> 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)<br /> <br /> Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &quot;Have the monthly payment been given out?&quot; Xifeng answered, &quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 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。”<br /> <br /> Mrs. Wang said, &quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&quot; Xifeng said, &quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)<br /> <br /> Mrs. Wang added, &quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&quot; Xifeng said, &quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 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。”<br /> <br /> 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, &quot;it's also very convenient for me to take my niece.&quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)<br /> <br /> 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, &quot;it's also very convenient for me to take my niece.&quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 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。<br /> <br /> 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)<br /> The mother laughed and said, &quot;Exactly, you also go, no need to come.&quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 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。<br /> 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.<br /> <br /> 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)<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 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。’”<br /> <br /> Mrs.Xing came back and said, &quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 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。”<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 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。<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 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。<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 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。<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 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。<br /> <br /> 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.<br /> 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)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 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。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 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。<br /> <br /> Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &quot;Mrs. Wang invited Miss Lin to come and sit over there.&quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)<br /> <br /> <br /> Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &quot;Mrs. Wang invited Miss Lin to come and sit over there.&quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 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。<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 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。<br /> <br /> 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<br /> <br /> 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)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 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。”<br /> <br /> “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)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 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。<br /> <br /> What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 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。<br /> <br /> 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?&quot; Lady King smiled and said, &quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)<br /> <br /> 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?&quot; Lady King smiled and said, &quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 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。<br /> <br /> “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)<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 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。<br /> Suddenly see a servant girl to say: &quot;old lady there spread supper.&quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)<br /> <br /> Suddenly a servant girl said, &quot;the old lady has passed on dinner.&quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 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。<br /> <br /> Lady King smiled at Mascara Jade Pearl and said: &quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)<br /> <br /> Lady King smiled at Mascara Jade Pearl and said: &quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 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。<br /> <br /> Mrs. Jia said with a smile, &quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)<br /> <br /> Mrs. Jia said with a smile, &quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 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。”<br /> 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 , &quot;You all go and let's have a talk in our own comfort.&quot;<br /> <br /> 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, &quot;You all go and let's have a talk in our own comfort.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 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。”<br /> <br /> 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, &quot;I just have read the ''Four Books''.&quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &quot;They don't read anything. They only know a few words.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 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；<br /> <br /> The sentence was barely out of her lips, when a continuous sounding of footsteps<br /> was heard outside, and a waiting maid entered and announced that Pao-yue was<br /> coming. Tai-yue was speculating in her mind how it was that this Pao-yue had<br /> turned out such a good-for-nothing fellow, when he happened to walk in.<br /> He was, in fact, a young man of tender years, wearing on his head, to hold his<br /> hair together, a cap of gold of purplish tinge, inlaid with precious gems.<br /> Parallel with his eyebrows was attached a circlet, embroidered with gold, and<br /> representing two dragons snatching a pearl.<br /> --[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)<br /> <br /> <br /> After a word, only a sound of footsteps outside, the maid came in and reported: &quot;Baoyu is here.&quot; Daiyu thought to herself: &quot;This Baoyu, I don't know what a tired lazy person.&quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 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。<br /> <br /> 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.<br /> <br /> 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)<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 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。”<br /> <br /> 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.&quot;How very strange.&quot; she was reflecting in her mind; &quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&quot; Baoyu greeted Lady Dowager &quot;Go and see your mother and then come back,&quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 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；<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 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。<br /> <br /> ==Nadia 202011080004==<br /> <br /> 后人有《西江月》二词批的极确，词曰：<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 无故寻愁觅恨，有时似傻如狂。<br /> <br /> ==Mariam toure 2020GBJ002301==<br /> <br /> 纵然生得好皮囊，腹内原来草莽。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 潦倒不通庶务，愚顽怕读文章。<br /> <br /> I'm not able to get through general affairs, and I'm afraid of reading articles.<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 行为偏僻性乖张，那管世人诽谤。<br /> 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)<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> 又曰：富贵不知乐业，贫穷难耐凄凉。<br /> It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> 可怜辜负好时光，于国于家无望。<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 天下无能第一，古今不肖无双。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 寄言纨袴与膏粱，莫效此儿形状。<br /> <br /> English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 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。”<br /> <br /> ==Öncü 202121080008==<br /> <br /> 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。<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 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)<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 归了坐细看时，真是与众各别。<br /> <br /> <br /> When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)<br /> <br /> <br /> 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)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 态生两靥之愁，娇袭一身之病。<br /> <br /> 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)<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 泪光点点，娇喘微微。</div>

He Qin https://bou.de/u/index.php?title=20211215_homework&diff=133259 2021-12-15T06:33:25Z

<p>He Qin: /* 何芩 Hé Qín 翻译学 女 202120081489 */</p> <hr /> <div>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]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 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。​<br /> <br /> 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.<br /> ----<br /> <br /> <br /> 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.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 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。<br /> <br /> Grasping -- namely &quot;grasping the week&quot;, also known as &quot;trying the child&quot; and &quot;trying the week&quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)<br /> <br /> Catch ─ ─ means &quot;catch the week&quot;, also known as &quot;test&quot; and &quot;test week&quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 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。”<br /> <br /> It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> (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。<br /> <br /> <br /> == Headline text ==<br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> 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。”​<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 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。<br /> <br /> Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 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；<br /> 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)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 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；<br /> <br /> 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.<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 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；<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 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；<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 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。​<br /> <br /> 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 &quot;The Western Chamber&quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 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”。​<br /> <br /> 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.”<br /> <br /> 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)<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 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。<br /> <br /> It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&quot; and Liu Yiqing's &quot;Shi Shuo Xin Yu · Elegance&quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)<br /> <br /> It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&quot; and Liu Yiqing's &quot;Shi Shuo Xin Yu · Elegance&quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 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。​<br /> <br /> 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 &quot;East Bed&quot;, &quot;East Bed Man Showing Belly&quot;, &quot;East Bed Guest&quot;, &quot;East Bed Distinguished Guest&quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 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。<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 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。”<br /> 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, &quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 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”。<br /> <br /> 第三回<br /> <br /> 托内兄如海荐西宾 接外孙贾母惜孤女<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 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。<br /> <br /> 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.<br /> <br /> 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)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 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。<br /> <br /> 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. &quot;Providence and good fortune are both alike propitious!&quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 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；<br /> <br /> “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)<br /> <br /> “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)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 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。<br /> <br /> “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)<br /> <br /> 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. &quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 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；<br /> Ruhai also said: &quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 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。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 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。<br /> 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)<br /> <br /> One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 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。<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 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。”<br /> <br /> 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 &quot;Ningguo Mansion&quot;. &quot;That must be grandfather's the first son's mansion.&quot;Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei<br /> <br /> 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 &quot;Ningguo Mansion Built at Imperial Command&quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 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。”<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 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。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 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。<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 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。<br /> <br /> 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. &quot;Of all my chilren I loved your mother best,&quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> &quot;Once she died before me, it is so sad that I could not see her again.&quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 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。<br /> <br /> So they asked:&quot; What medicine do you usually take? Why doesn't it work?&quot; Daiyu replied:&quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)<br /> <br /> They then asked, &quot;What medicines do you take regularly? Why can't you cure your illness?&quot; Daiyu said, &quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 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。<br /> <br /> The monk said, &quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 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？”<br /> <br /> Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&quot; What a coincidence! The pills are making now, I just tell them to add one.&quot; The words have not been finished, but there is a laugh in the back yard, which said:&quot; I come late and fail to welcome our distinguished guest.&quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)<br /> <br /> Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&quot; The words are not finished, but there is a laugh in the back yard, which said:&quot; I am late and fail to welcome our distinguished guest.&quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 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。”<br /> <br /> 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, &quot;You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)<br /> <br /> 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)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 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。<br /> <br /> 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:&quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)<br /> <br /> 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:&quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> 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。”<br /> <br /> I pity my sister for being so miserable, how could my aunt died so early?&quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)<br /> <br /> I pity my sister who is so miserable, how could my aunt have died?&quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 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。<br /> <br /> 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!&quot; He also took Daiyu's hand and asked, &quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 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。”<br /> <br /> Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &quot; Daiyu nodded one by one. On one side, Xifeng asked, &quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)<br /> <br /> 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. &quot; Daiyu nodded one by one. At the same time, Xifeng asked, &quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 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！”<br /> <br /> 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)<br /> <br /> Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &quot;Have the monthly payment been given out?&quot; Xifeng answered, &quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 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。”<br /> <br /> Mrs. Wang said, &quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&quot; Xifeng said, &quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)<br /> <br /> Mrs. Wang added, &quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&quot; Xifeng said, &quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 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。”<br /> <br /> 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, &quot;it's also very convenient for me to take my niece.&quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)<br /> <br /> 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, &quot;it's also very convenient for me to take my niece.&quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 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。<br /> <br /> 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)<br /> The mother laughed and said, &quot;Exactly, you also go, no need to come.&quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 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。<br /> 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.<br /> <br /> 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)<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 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。’”<br /> <br /> Mrs.Xing came back and said, &quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 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。”<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 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。<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 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。<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 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。<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 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。<br /> <br /> 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.<br /> 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)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 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。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 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。<br /> <br /> Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &quot;Mrs. Wang invited Miss Lin to come and sit over there.&quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)<br /> <br /> <br /> Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &quot;Mrs. Wang invited Miss Lin to come and sit over there.&quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 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。<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 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。<br /> <br /> 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<br /> <br /> 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)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 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。”<br /> <br /> “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)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 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。<br /> <br /> What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 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。<br /> <br /> 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?&quot; Lady King smiled and said, &quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)<br /> <br /> 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?&quot; Lady King smiled and said, &quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 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。<br /> <br /> “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)<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 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。<br /> Suddenly see a servant girl to say: &quot;old lady there spread supper.&quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)<br /> <br /> Suddenly a servant girl said, &quot;the old lady has passed on dinner.&quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 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。<br /> <br /> Lady King smiled at Mascara Jade Pearl and said: &quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)<br /> <br /> Lady King smiled at Mascara Jade Pearl and said: &quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 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。<br /> <br /> Mrs. Jia said with a smile, &quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)<br /> <br /> Mrs. Jia said with a smile, &quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 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。”<br /> 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 , &quot;You all go and let's have a talk in our own comfort.&quot;<br /> <br /> 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, &quot;You all go and let's have a talk in our own comfort.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 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。”<br /> <br /> 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, &quot;I just have read the ''Four Books''.&quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &quot;They don't read anything. They only know a few words.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 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；<br /> <br /> The sentence was barely out of her lips, when a continuous sounding of footsteps<br /> was heard outside, and a waiting maid entered and announced that Pao-yue was<br /> coming. Tai-yue was speculating in her mind how it was that this Pao-yue had<br /> turned out such a good-for-nothing fellow, when he happened to walk in.<br /> He was, in fact, a young man of tender years, wearing on his head, to hold his<br /> hair together, a cap of gold of purplish tinge, inlaid with precious gems.<br /> Parallel with his eyebrows was attached a circlet, embroidered with gold, and<br /> representing two dragons snatching a pearl.<br /> --[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)<br /> <br /> <br /> After a word, only a sound of footsteps outside, the maid came in and reported: &quot;Baoyu is here.&quot; Daiyu thought to herself: &quot;This Baoyu, I don't know what a tired lazy person.&quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 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。<br /> <br /> 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.<br /> <br /> 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)<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 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。”<br /> <br /> 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.&quot;How very strange.&quot; she was reflecting in her mind; &quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&quot; Baoyu greeted Lady Dowager &quot;Go and see your mother and then come back,&quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 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；<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 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。<br /> <br /> ==Nadia 202011080004==<br /> <br /> 后人有《西江月》二词批的极确，词曰：<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 无故寻愁觅恨，有时似傻如狂。<br /> <br /> ==Mariam toure 2020GBJ002301==<br /> <br /> 纵然生得好皮囊，腹内原来草莽。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 潦倒不通庶务，愚顽怕读文章。<br /> <br /> I'm not able to get through general affairs, and I'm afraid of reading articles.<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 行为偏僻性乖张，那管世人诽谤。<br /> 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)<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> 又曰：富贵不知乐业，贫穷难耐凄凉。<br /> It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> 可怜辜负好时光，于国于家无望。<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 天下无能第一，古今不肖无双。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 寄言纨袴与膏粱，莫效此儿形状。<br /> <br /> English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 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。”<br /> <br /> ==Öncü 202121080008==<br /> <br /> 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。<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 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)<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 归了坐细看时，真是与众各别。<br /> <br /> <br /> When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)<br /> <br /> <br /> 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)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 态生两靥之愁，娇袭一身之病。<br /> <br /> 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)<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 泪光点点，娇喘微微。</div>

He Qin https://bou.de/u/index.php?title=20211215_homework&diff=133258 2021-12-15T06:32:51Z

<p>He Qin: /* 何芩 Hé Qín 翻译学 女 202120081489 */</p> <hr /> <div>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]]<br /> <br /> ==陈静 Chén Jìng 国别 女 202020080595==<br /> <br /> 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。​<br /> <br /> 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.<br /> ----<br /> <br /> <br /> 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.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)<br /> <br /> ==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==<br /> <br /> 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。<br /> <br /> Grasping -- namely &quot;grasping the week&quot;, also known as &quot;trying the child&quot; and &quot;trying the week&quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.<br /> --[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)<br /> <br /> Catch ─ ─ means &quot;catch the week&quot;, also known as &quot;test&quot; and &quot;test week&quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)<br /> <br /> ==曾俊霖 Zēng Jùnlín 国别 男 202120081478==<br /> <br /> 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。”<br /> <br /> It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)<br /> <br /> ==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==<br /> <br /> (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。<br /> <br /> <br /> == Headline text ==<br /> ==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==<br /> <br /> 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。”​<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==陈心怡 Chén Xīnyí 翻译学 女 202120081481==<br /> <br /> 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。<br /> <br /> Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)<br /> <br /> ==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==<br /> <br /> 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；<br /> 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)<br /> <br /> ==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==<br /> <br /> 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；<br /> <br /> 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.<br /> <br /> ==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==<br /> <br /> 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；<br /> <br /> ==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==高蜜 Gāo Mì 翻译学 女 202120081487==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> ==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==<br /> <br /> 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；<br /> <br /> ==何芩 Hé Qín 翻译学 女 202120081489==<br /> <br /> 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。​<br /> <br /> <br /> 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 &quot;The Western Chamber&quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)<br /> <br /> ==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==<br /> <br /> 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”。​<br /> <br /> 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.”<br /> <br /> 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)<br /> <br /> ==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==<br /> <br /> 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。<br /> <br /> It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&quot; and Liu Yiqing's &quot;Shi Shuo Xin Yu · Elegance&quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)<br /> <br /> It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&quot; and Liu Yiqing's &quot;Shi Shuo Xin Yu · Elegance&quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)<br /> <br /> ==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==<br /> <br /> 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。​<br /> <br /> 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 &quot;East Bed&quot;, &quot;East Bed Man Showing Belly&quot;, &quot;East Bed Guest&quot;, &quot;East Bed Distinguished Guest&quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)<br /> <br /> ==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==<br /> <br /> 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。<br /> <br /> ==金晓童 Jīn Xiǎotóng 202120081494==<br /> <br /> 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。”<br /> 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, &quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)<br /> <br /> ==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==<br /> <br /> 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”。<br /> <br /> 第三回<br /> <br /> 托内兄如海荐西宾 接外孙贾母惜孤女<br /> <br /> ==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==<br /> <br /> 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。<br /> <br /> 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.<br /> <br /> 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)<br /> <br /> ==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==<br /> <br /> 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。<br /> <br /> 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. &quot;Providence and good fortune are both alike propitious!&quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)<br /> <br /> ==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==李双 Lǐ Shuāng 翻译学 女 202120081499==<br /> <br /> 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；<br /> <br /> “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)<br /> <br /> “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)<br /> <br /> ==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==<br /> <br /> 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。<br /> <br /> “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)<br /> <br /> 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. &quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)<br /> <br /> ==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==<br /> <br /> 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；<br /> Ruhai also said: &quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)<br /> <br /> ==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==<br /> <br /> 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。<br /> <br /> ==李怡 Lǐ Yí 法语语言文学 女 202120081504==<br /> <br /> 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。<br /> 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)<br /> <br /> One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)<br /> <br /> ==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==<br /> <br /> 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。<br /> <br /> ==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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<br /> <br /> ==刘薇 Liú Wēi 国别 女 202120081507==<br /> <br /> 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。”<br /> <br /> 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 &quot;Ningguo Mansion&quot;. &quot;That must be grandfather's the first son's mansion.&quot;Daiyu thought. --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei<br /> <br /> 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 &quot;Ningguo Mansion Built at Imperial Command&quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)<br /> <br /> ==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==刘越 Liú Yuè 亚非语言文学 女 202120081509==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==<br /> <br /> 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。”<br /> <br /> ==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==<br /> <br /> 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。<br /> <br /> ==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==<br /> <br /> 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。<br /> <br /> ==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==<br /> <br /> 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。<br /> <br /> 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. &quot;Of all my chilren I loved your mother best,&quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)<br /> <br /> ==毛优 Máo Yōu 俄语语言文学 女 202120081515==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> &quot;Once she died before me, it is so sad that I could not see her again.&quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)<br /> <br /> ==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==<br /> <br /> 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。<br /> <br /> So they asked:&quot; What medicine do you usually take? Why doesn't it work?&quot; Daiyu replied:&quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)<br /> <br /> They then asked, &quot;What medicines do you take regularly? Why can't you cure your illness?&quot; Daiyu said, &quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)<br /> <br /> ==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==<br /> <br /> 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。<br /> <br /> The monk said, &quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)<br /> <br /> ==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==<br /> <br /> 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？”<br /> <br /> Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&quot; What a coincidence! The pills are making now, I just tell them to add one.&quot; The words have not been finished, but there is a laugh in the back yard, which said:&quot; I come late and fail to welcome our distinguished guest.&quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)<br /> <br /> Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&quot; The words are not finished, but there is a laugh in the back yard, which said:&quot; I am late and fail to welcome our distinguished guest.&quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)<br /> <br /> ==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==<br /> <br /> 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。”<br /> <br /> 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, &quot;You do not recognize her. She is famous for her boldness and vigorousness here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)<br /> <br /> 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)<br /> <br /> ==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==<br /> <br /> 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。<br /> <br /> 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:&quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)<br /> <br /> 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:&quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)<br /> <br /> ==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==<br /> <br /> 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。”<br /> <br /> I pity my sister for being so miserable, how could my aunt died so early?&quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)<br /> <br /> I pity my sister who is so miserable, how could my aunt have died?&quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)<br /> <br /> ==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==<br /> <br /> 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。<br /> <br /> 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!&quot; He also took Daiyu's hand and asked, &quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)<br /> <br /> ==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==<br /> <br /> 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。”<br /> <br /> Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &quot; Daiyu nodded one by one. On one side, Xifeng asked, &quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)<br /> <br /> 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. &quot; Daiyu nodded one by one. At the same time, Xifeng asked, &quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)<br /> <br /> ==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==<br /> <br /> 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！”<br /> <br /> 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)<br /> <br /> Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &quot;Have the monthly payment been given out?&quot; Xifeng answered, &quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)<br /> <br /> ==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==<br /> <br /> 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。”<br /> <br /> Mrs. Wang said, &quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&quot; Xifeng said, &quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)<br /> <br /> Mrs. Wang added, &quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&quot; Xifeng said, &quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)<br /> <br /> ==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==<br /> <br /> 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。”<br /> <br /> 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, &quot;it's also very convenient for me to take my niece.&quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)<br /> <br /> 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, &quot;it's also very convenient for me to take my niece.&quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)<br /> <br /> ==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==<br /> <br /> 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。<br /> <br /> 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)<br /> The mother laughed and said, &quot;Exactly, you also go, no need to come.&quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)<br /> <br /> ==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==<br /> <br /> 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。<br /> 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.<br /> <br /> 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)<br /> <br /> ==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==<br /> <br /> 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。’”<br /> <br /> Mrs.Xing came back and said, &quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''<br /> <br /> ==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==<br /> <br /> 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。”<br /> <br /> ==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==<br /> <br /> 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。<br /> <br /> ==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==<br /> <br /> 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。<br /> <br /> ==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==<br /> <br /> 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。<br /> <br /> ==颜莉莉 Yán Lìlì 国别 女 202120081537==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==颜子涵 Yán Zǐhán 国别 女 202120081538==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==<br /> <br /> 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。<br /> <br /> 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.<br /> 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)<br /> <br /> ==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==<br /> <br /> 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。<br /> <br /> ==杨堃 Yáng Kūn 法语语言文学 女 202120081542==<br /> <br /> 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。<br /> <br /> Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &quot;Mrs. Wang invited Miss Lin to come and sit over there.&quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)<br /> <br /> <br /> Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &quot;Mrs. Wang invited Miss Lin to come and sit over there.&quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)<br /> <br /> ==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> ==叶维杰 Yè Wéijié 国别 男 202120081544==<br /> <br /> 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。<br /> <br /> ==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==<br /> <br /> 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。<br /> <br /> 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<br /> <br /> 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)<br /> <br /> ==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==<br /> <br /> 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。”<br /> <br /> “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)<br /> <br /> ==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==<br /> <br /> 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。<br /> <br /> What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)<br /> <br /> ==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==<br /> <br /> 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。<br /> <br /> 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?&quot; Lady King smiled and said, &quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)<br /> <br /> 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?&quot; Lady King smiled and said, &quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)<br /> <br /> ==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==<br /> <br /> 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。<br /> <br /> “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)<br /> <br /> ==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==<br /> <br /> 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。<br /> Suddenly see a servant girl to say: &quot;old lady there spread supper.&quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)<br /> <br /> Suddenly a servant girl said, &quot;the old lady has passed on dinner.&quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)<br /> <br /> ==张扬 Zhāng Yáng 国别 男 202120081551==<br /> <br /> 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。<br /> <br /> Lady King smiled at Mascara Jade Pearl and said: &quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)<br /> <br /> Lady King smiled at Mascara Jade Pearl and said: &quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.<br /> <br /> ==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==<br /> <br /> 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。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==<br /> <br /> 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。<br /> <br /> Mrs. Jia said with a smile, &quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)<br /> <br /> Mrs. Jia said with a smile, &quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)<br /> <br /> ==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==<br /> <br /> 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；<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==<br /> <br /> 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。”<br /> 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 , &quot;You all go and let's have a talk in our own comfort.&quot;<br /> <br /> 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, &quot;You all go and let's have a talk in our own comfort.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)<br /> <br /> ==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==<br /> <br /> 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。”<br /> <br /> 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, &quot;I just have read the ''Four Books''.&quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &quot;They don't read anything. They only know a few words.&quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)<br /> <br /> ==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==<br /> <br /> 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；<br /> <br /> The sentence was barely out of her lips, when a continuous sounding of footsteps<br /> was heard outside, and a waiting maid entered and announced that Pao-yue was<br /> coming. Tai-yue was speculating in her mind how it was that this Pao-yue had<br /> turned out such a good-for-nothing fellow, when he happened to walk in.<br /> He was, in fact, a young man of tender years, wearing on his head, to hold his<br /> hair together, a cap of gold of purplish tinge, inlaid with precious gems.<br /> Parallel with his eyebrows was attached a circlet, embroidered with gold, and<br /> representing two dragons snatching a pearl.<br /> --[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)<br /> <br /> <br /> After a word, only a sound of footsteps outside, the maid came in and reported: &quot;Baoyu is here.&quot; Daiyu thought to herself: &quot;This Baoyu, I don't know what a tired lazy person.&quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)<br /> <br /> ==周清 Zhōu Qīng 法语语言文学 女 202120081558==<br /> <br /> 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。<br /> <br /> 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.<br /> <br /> 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)<br /> <br /> ==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==<br /> <br /> 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。”<br /> <br /> 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.&quot;How very strange.&quot; she was reflecting in her mind; &quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&quot; Baoyu greeted Lady Dowager &quot;Go and see your mother and then come back,&quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)<br /> <br /> ==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==<br /> <br /> 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；<br /> <br /> ==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==<br /> <br /> 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。<br /> <br /> ==Nadia 202011080004==<br /> <br /> 后人有《西江月》二词批的极确，词曰：<br /> <br /> ==Mahzad Heydarian 玛莎 202021080004==<br /> <br /> 无故寻愁觅恨，有时似傻如狂。<br /> <br /> ==Mariam toure 2020GBJ002301==<br /> <br /> 纵然生得好皮囊，腹内原来草莽。<br /> <br /> ==Rouabah Soumaya 202121080001==<br /> <br /> 潦倒不通庶务，愚顽怕读文章。<br /> <br /> I'm not able to get through general affairs, and I'm afraid of reading articles.<br /> <br /> ==Muhammad Numan 202121080002==<br /> <br /> 行为偏僻性乖张，那管世人诽谤。<br /> 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)<br /> <br /> ==Atta Ur Rahman 202121080003==<br /> <br /> 又曰：富贵不知乐业，贫穷难耐凄凉。<br /> It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.<br /> <br /> ==Muhammad Saqib Mehran 202121080004==<br /> <br /> 可怜辜负好时光，于国于家无望。<br /> <br /> ==Zohaib Chand 202121080005==<br /> <br /> 天下无能第一，古今不肖无双。<br /> <br /> ==Jawad Ahmad 202121080006==<br /> <br /> 寄言纨袴与膏粱，莫效此儿形状。<br /> <br /> English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.<br /> <br /> ==Nizam Uddin 202121080007==<br /> <br /> 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。”<br /> <br /> ==Öncü 202121080008==<br /> <br /> 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。<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 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)<br /> <br /> ==Akira Jantarat 202121080009==<br /> <br /> 归了坐细看时，真是与众各别。<br /> <br /> <br /> When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)<br /> <br /> <br /> 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)<br /> <br /> ==Benjamin Wellsand 202111080118==<br /> <br /> 只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。<br /> <br /> 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)<br /> <br /> 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)<br /> <br /> ==Asep Budiman 202111080020==<br /> <br /> 态生两靥之愁，娇袭一身之病。<br /> <br /> 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)<br /> <br /> ==Ei Mon Kyaw 202111080021==<br /> <br /> 泪光点点，娇喘微微。</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132194 2021-12-13T14:25:39Z

<p>He Qin: /* sociocultural-loaded words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ==Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===The Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> <br /> <br /> The Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated.<br /> <br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> <br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:23, 13 December 2021 (UTC)<br /> <br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> <br /> <br /> <br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. <br /> <br /> For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> <br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> <br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> <br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> <br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:25, 13 December 2021 (UTC)<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> <br /> <br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> <br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> Concealedin five shadows, sunk deep in the flesh.<br /> <br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. <br /> <br /> This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. <br /> <br /> Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> <br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> <br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> <br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:20, 13 December 2021 (UTC)<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> <br /> <br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan's poem:<br /> <br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> <br /> This poem is a paradigm for Han Shan's usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:23, 13 December 2021 (UTC)<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. <br /> <br /> It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture was blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder's Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. <br /> <br /> Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). <br /> <br /> We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:18, 13 December 2021 (UTC)<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> <br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> <br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> <br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> <br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> <br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132188 2021-12-13T14:23:55Z

<p>He Qin: /* Three Principles of the Functionalist Skopos Theory */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ==Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===The Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> <br /> <br /> The Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated.<br /> <br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> <br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:23, 13 December 2021 (UTC)<br /> <br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> <br /> <br /> <br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. <br /> <br /> For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> <br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> <br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> <br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> <br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> <br /> <br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> <br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> Concealedin five shadows, sunk deep in the flesh.<br /> <br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. <br /> <br /> This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. <br /> <br /> Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> <br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> <br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> <br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:20, 13 December 2021 (UTC)<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> <br /> <br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan's poem:<br /> <br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> <br /> This poem is a paradigm for Han Shan's usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:23, 13 December 2021 (UTC)<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. <br /> <br /> It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture was blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder's Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. <br /> <br /> Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). <br /> <br /> We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:18, 13 December 2021 (UTC)<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> <br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> <br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> <br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> <br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> <br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132185 2021-12-13T14:23:05Z

<p>He Qin: /* linguistic culture-loaded words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ==Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===The Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> <br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> <br /> <br /> <br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. <br /> <br /> For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> <br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> <br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> <br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> <br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> <br /> <br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> <br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> Concealedin five shadows, sunk deep in the flesh.<br /> <br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. <br /> <br /> This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. <br /> <br /> Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> <br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> <br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> <br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:20, 13 December 2021 (UTC)<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> <br /> <br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan's poem:<br /> <br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> <br /> This poem is a paradigm for Han Shan's usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:23, 13 December 2021 (UTC)<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. <br /> <br /> It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture was blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder's Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. <br /> <br /> Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). <br /> <br /> We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:18, 13 December 2021 (UTC)<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> <br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> <br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> <br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> <br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> <br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132181 2021-12-13T14:20:56Z

<p>He Qin: /* religious culture-loaded words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ==Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===The Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> <br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> <br /> <br /> <br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. <br /> <br /> For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> <br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> <br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> <br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> <br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> <br /> <br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> <br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> Concealedin five shadows, sunk deep in the flesh.<br /> <br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. <br /> <br /> This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. <br /> <br /> Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> <br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> <br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> <br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:20, 13 December 2021 (UTC)<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. <br /> <br /> It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture was blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder's Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. <br /> <br /> Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). <br /> <br /> We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:18, 13 December 2021 (UTC)<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> <br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> <br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> <br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> <br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> <br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132177 2021-12-13T14:18:45Z

<p>He Qin: /* Conclusion */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ==Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===The Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> <br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> <br /> <br /> <br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. <br /> <br /> For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> <br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> <br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> <br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> <br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. <br /> <br /> It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture was blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder's Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. <br /> <br /> Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). <br /> <br /> We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:18, 13 December 2021 (UTC)<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> <br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> <br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> <br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> <br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> <br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132175 2021-12-13T14:16:46Z

<p>He Qin: /* Reference */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ==Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===The Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> <br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> <br /> <br /> <br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. <br /> <br /> For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> <br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> <br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> <br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> <br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> <br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> <br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> <br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> <br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> <br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132172 2021-12-13T14:16:10Z

<p>He Qin: /* =Key Words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ==Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===The Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> <br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> <br /> <br /> <br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. <br /> <br /> For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> <br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> <br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> <br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> <br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132170 2021-12-13T14:15:14Z

<p>He Qin: /* the Functionalist Skopos Theory */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ===Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===The Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> <br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> <br /> <br /> <br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. <br /> <br /> For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> <br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> <br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> <br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> <br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132167 2021-12-13T14:14:28Z

<p>He Qin: /* sociocultural-loaded words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ===Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===the Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> <br /> <br /> <br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. <br /> <br /> For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> <br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> <br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> <br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> <br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132162 2021-12-13T14:12:12Z

<p>He Qin: /* physical material culture-loaded words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ===Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===the Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> <br /> 寄语钟鼎家，虚名定无益。<br /> Go tell families with silverware and cars<br /> &quot;What's the use of all that noise and money?&quot;<br /> <br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> <br /> In the following poem, Snyder also showed his will of domestication:<br /> <br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> <br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:12, 13 December 2021 (UTC)<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132156 2021-12-13T14:10:00Z

<p>He Qin: /* ecocultural-loaded words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ===Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===the Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> <br /> <br /> <br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons, hills, and so on. <br /> <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan's poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by&quot;石磊磊&quot;，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into &quot;Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.&quot; He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated &quot;寒山道&quot; into &quot;the path to Han Shan's place&quot;, while &quot;寒山&quot;is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, &quot;幽石&quot; means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into &quot;Cold Mountain&quot;.This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. <br /> <br /> All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:10, 13 December 2021 (UTC)<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132144 2021-12-13T14:06:17Z

<p>He Qin: /* Definition */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ===Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===the Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> <br /> The Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:06, 13 December 2021 (UTC)<br /> <br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132141 2021-12-13T14:05:26Z

<p>He Qin: /* The Translation methods of culture-loaded words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ===Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> <br /> <br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. <br /> <br /> Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.<br /> <br /> Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages.The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.<br /> <br /> Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. <br /> <br /> Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.<br /> <br /> Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.<br /> <br /> Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> <br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:05, 13 December 2021 (UTC)<br /> <br /> ===the Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132131 2021-12-13T14:01:25Z

<p>He Qin: /* Classification of Culture-loaded Words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ===Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 14:01, 13 December 2021 (UTC)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> ===the Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132130 2021-12-13T14:01:07Z

<p>He Qin: /* Classification of Culture-loaded Words */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ===Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> <br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words.(Nida,1993)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> ===the Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_3&diff=132126 2021-12-13T13:59:52Z

<p>He Qin: /* Introduction */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =3 罗曦 Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems from the Perspective of the Functionalist Skopos Theory =<br /> [[Cult_Load_Words_EN_3]]<br /> <br /> <br /> === 题目 功能主义目的论视角下加里斯奈德对寒山诗中文化负载词的英译研究 ===<br /> <br /> ===Abstract===<br /> Since the 1970s, the German functionalist school, represented by Rice, Vermeer, Mantali and the Nordic school, has provided a new perspective for translation studies. According to this school, the translation process is governed by various factors, and the purpose of the act of translation determines the whole process of the act of translation. Taking the Functionalist Skopos Theory as the theoretical framework, this paper selects Gary Snyder's translation of Han shan's poetry as the object of study, and based on Nida's classification of the cultural factors involved in translation, namely ecological culture, material culture, social culture, religious culture and linguistic culture, it conducts a comparative analysis of the cultural-loaded words in the Chinese and English versions of Han shan's poetry, and draws the following conclusions: the translator adopts different types of approaches to translate different culture- loaded words. The overall aim of the translation is to spread the idea of indifference to fame and fortune in Han shan's poetry and to draw the attention of Americans to the protection of the environment by vividly restoring the beautiful nature images in Hanshan's poems. It has been proven that Gary Snyder's translations of his poems have led to a 'Han shan hit ' in the United States and have achieved his intended goal of translation. However, Snyder also distorted the image of Han shan to a certain extent, transforming him from a Chinese monk into a hippie figure. Although this facilitates the rapid integration of the translated poem into the culture of the target language for Snyder's use, it also creates a misinterpretation of Han shan's image by the Americans. On the whole, however, the English translation of Han shan's poetry is conducive to the outreach of Chinese culture. The success of Snyder's English translation of Hanshan's poem proves that Functionalist Skopos Theory is a practical guide in literary translation, and that the three principles of the Functionalist Skopos Theory can increase the speed of achieving the purpose of translation with maximum efficiency.<br /> <br /> ===Key Words==<br /> the Functionalist Skopos Theory； Gary Snyder； Culture-loaded Words；Han Shan<br /> === 摘要 ===<br /> 20世纪70年代以来，以赖斯、维梅尔、曼塔利和诺德学派为代表的德国功能主义学派为翻译研究提供了一个全新的视角。根据这一学派的观点，翻译过程受各种因素的制约，翻译行为的目的决定了翻译行为的整个过程。本文以德国功能主义目的论为理论框架，选择加里斯奈德对寒山诗歌的翻译作为研究对象，以奈达对翻译中涉及的文化因素的分类为基础，即生态文化、物质文化、社会文化、宗教文化和语言文化，对寒山诗歌的中英文版本中的文化负载词进行了比较分析，并得出了以下结论：译者对不同的文化负载词采取了不同的翻译策略和方法，其总目的为通过翻译寒山的诗歌传播其诗歌中淡泊名利的思想，并通过生动还原寒山诗中优美的自然之境引起美国人对保护环境的重视。据考证，加里斯奈德的译诗传至美国后引发了“寒山热”，达到了他预期的翻译目标。然而，斯奈德也在一定程度上扭曲了寒山的形象，使寒山从一个中国和尚摇身一变，成了嬉皮士的代表。虽然这有利于使译诗快速融入目标语文化，为斯奈德所用，但也造成了美国人对寒山形象的一种误读。但从整体看，英译寒山诗歌有利于中国文化走出去。斯奈德英译寒山诗的成功证明了功能主义目的论在文学翻译中具有实际的指导作用，而功能主义目的论的三原则可以最大效率地达成翻译目的<br /> <br /> === 关键词 ===<br /> 功能主义目的论；加里斯奈德；文化负载词；寒山<br /> ===Introduction===<br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in “beat generation”，which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people’s hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan’s poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder’s translation of the culture-loaded words in Han Shan’s poems has found that Snyder’s translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn’t translate the culture-loaded words in Han Shan’s poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder’s translation in transcultural communication.<br /> <br /> Gary Snyder (1930-) is a contemporary American poet as well as an environmentalist. There are profound ecological awareness and themes in his poems, and he is also well-known as one of the member in &quot;beat generation&quot;, which is a group of people who take an arm against the corrupted and hypocritical American society. In order to save people's hollow spirit at that time, Gary Snyder resort to other culture. For example, he absorbed the thinking of Zen in Japan, and tried to disseminate the essence of it among American, so he translated Han Shan's poems, who is a Chinese monk and poet in Tang dynasty showing Zen spirit in his poems. Culture-loaded words can express different ideologies in different countries, and the analysis on Gary Snyder's translation of the culture-loaded words in Han Shan's poems has found that Snyder's translation is consistent with the idea of Functionalist Skopos Theory. This theory proposes that all the methods and strategies of translating depend on the purpose of the translation，and Gary Snyder didn't translate the culture-loaded words in Han Shan's poems faithfully to meet his own need, which is consistent with the Functionalist Skopos Theory. Through analyzing different strategies used by Gary Snyder in his translation, this paper aims to probe the pros and cons of Functionalist Skopos Theory and the significance of Gary Snyder's translation in transcultural communication.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:59, 13 December 2021 (UTC)<br /> <br /> ===Culture-loaded Words===<br /> ====Definition of Culture-loaded Words====<br /> Different culture has different histories, and during its historical changes, each country will have its own culture, unique and distinctive. As a result, each country has many unique things, including but not limited to habits, language and rhetoric, religious beliefs, authorities and so on. To a certain extent, the words that describe these things can only be understood by the people who live in that country. The denotations and connotations of these words have been endowed by the indigenous people of different countries，and these words are culture-loaded words. <br /> &quot;culture-loaded words are words, phrases and idioms that signify something specific to a culture&quot; (Liao Qiyi, 2000).The birth of these words inevitably comes from the unique habits of different people in different countries&quot; (Liao Qiyi, 2000: 232). For instance, '鱼服', which appears in a famous Chinese poem '采薇', refers to a kind of bag made from fish skin, and this was a tool used in warfare in ancient China to hold arrows. The tool is unique to China and was created through the experience and simple wisdom of the ancient Chinese people. It is unique to China, and such a tool, obviously,is culture-loaded, which people of other nations do not possess and cannot understand. This is a culture-loaded term that needs explanation in order to be understood by other peoples.<br /> <br /> ====Classification of Culture-loaded Words====<br /> A number of scholars, both nationally and internationally, have classified culture-loaded words. Given that Eugene A. Nida’s classification of culture- loaded words has been influential, who is a distinguished American linguist and translator，and his five categories of texts are relatively parallel. This paper classifies the culture-loaded words in Gary Snyder's translation of Han Shan's poems according to Nida's classification of culture-loaded words.<br /> According to Naida's classification, culture-loaded words can be divided into five categories: ecocultural-loaded words,physical material culture-loaded words, sociocultural-loaded words, religious culture-loaded words, and linguistic culture-loaded words(Nida,1993)<br /> <br /> ====The Translation methods of culture-loaded words====<br /> By its very nature, translation is an intercultural activity, and as such the aim of translation is to transmit what is expressed in the culture of the original language to the culture of the target language. In fact, there is no strictly fixed formula for this process of cultural transmission. However, after many years of translation activity, there are broad categories of translation methods that people use. These classifications can help translators to clarify their thinking and to translate better. Therefore, some of the translation methods used by Gary Snyder are listed here as follows. Firstly, A direct translation, as the name suggests, is a word-by-word, sentence-by-sentence translation. The direct translation method is a way that can best preserve the meaning of the original text among all translation methods, and it is also the method that is most frequently used in translation. Due to differences in culture, lifestyle and other aspects, there may not be many identical correspondences between Chinese and English, but if possible, using a direct translation is literally the best strategy. For instance, the Chinese phrase &quot;大锅飯&quot; can be translated directly as &quot;big pot system&quot;; Chinese readers also mostly understand the English phrase &quot;black horse &quot;in English.Secondly,Substitution,the replacement of culture-loaded words in the original language with words from the target language, is a method with mixed advantages and disadvantages<br /> The advantage of the substitution method is that it makes it easier for readers of the target language to understand the meaning of the original text by using words that are familiar to them.However, the disadvantage of this method is that it is difficult to find a proper relevant cultural expressions in the culture of the target language, making it difficult to disseminate the culture of the original country, and even causing the readers of the target language to misunderstand the culture of the original country and believe that the cultural habits of the two countries are the same.Thirdly,Phonetic translation means using words with a similar or identical pronunciation to the original language instead of the words used in the original language<br /> in order to achieve the translation effect desired by the translator. The use of phonetic translations can actually help a country's culture to reach out, but they are not easily understood by readers in the target language. This is why transliteration is often used in conjunction with an annotation, while it is not always necessary. For example, '沙发' in Chinese is a phonetic translation of the English word,and the Chinese word '粽子‘ can also be directly translated as “zongzi” in English. Fourthly，Paraphrasing refers to the use of the target language to explain the original text. Paraphrasing can, to the greatest extent， possible preserve the meaning of the original language. The paraphrase, however, has its disadvantage that it is difficult to preserve the structure of the poem in its lucidity and elegance. This includes the difficulty of preserving some of the rhythmic and prosodic forms, so sometimes lucidity and elegance need to be sacrificed to preserve expressiveness. For example, the Chinese phrase &quot;八寶粽子&quot;, when translated into English, is translated as &quot;Glutinous Rice Dumpling with Eight-Treasure&quot;.Fifth,Creative rebellion refers to the process of translation in which the translator consciously 'distorts' the meaning of the original language so the translation can become more understandable to the reader or can be more easily expressed by the translator himself. For example, Zhai Lisi（Herbert Allen Giles）In his translation of ''Early Spring in the East of the City'', he translates the word '新春' as 'early May'.This seems to be a 'mistranslation' of the original text, but the fact that the chronology is different in Central Europe makes this translation more helpful to Western readers. Thus, although such a translation &quot;distorts&quot; the apparent meaning of the original, it is a better way of conveying the true meaning of the text.Sixth, In literary translation, 'annotation' is a common method of translation because it is difficult to translate the 'quotations' of Chinese and Western cultures in just a few words. The translator will therefore often add annotations in their translations. For example, in the beginning, when Chinese readers were not aware of cloning technology,the term clone was translated as &quot;cloning (a method of asexual reproduction)&quot; ,which is a combination of &quot;phonetic&quot; and &quot;apostrophe&quot;. <br /> Seventh, Generalisation refers to a method of translation in which a more refined range of things is translated to encompass a wider range of meanings.<br /> Generally speaking, such translations lose the nuance and precision of the original. However, it can be used when necessary. For example, the translator translates &quot;lily&quot; as &quot;flower&quot;,which is a kind of &quot;generalisation&quot;.Eighth,Omission is not a very common translation technique,However, when translating from Chinese to English, in order to make the translation more concise and easier for Western readers to read, translators will choose to use omission.<br /> <br /> ===the Functionalist Skopos Theory ===<br /> ====Definition====<br /> the Functionalist Skopos Theory is the founding theory and mainstream of German functionalism. It was proposed by the famous German translation theorist Hans Vermeer in the 1970s on the basis of behavioural theory. the Functionalist Skopos Theory holds that the act of translation and the nature of translation is a purposeful intercultural communication with its purposive, communicative and intercultural nature.<br /> ====Three Principles of the Functionalist Skopos Theory====<br /> the Functionalist Skopos Theory consists of three principles: the principle of purpose, the law of coherence and the law of fidelity. The principle of purpose means that the translation should work in the context and culture of the language into which it is translated<br /> The purpose principle means that the translation should function in the way that the recipient of the translation expects it to function. The principle of coherence means that the translation must be internally coherent, so that the translation is readable, meaningful and relevant in the culture and communication of the target language.<br /> The principle of fidelity means that the translation must be faithful to the original, that it must be interlingually consistent with the original, and that the translation must be faithful to the extent and in the way that the recipient understands it.<br /> The degree of fidelity and the form of fidelity are determined by the purpose of the translation. The principle of purpose is the primary principle of all translations.<br /> ===Gary Snyder’s Translation of the Culture-loaded Words in Han Shan’s Poems===<br /> ==== ecocultural-loaded words====<br /> According to Nida's classification of culture-loaded words, ecocultural- loaded words include words related to plants, animals, monsoons,<br /> hills, and so on. <br /> Through analyzing the translation methods adopted by Gary Snyder in his translation of the ecocultural- loaded words in Han Shan’s poems, this paper found that he mostly used the way of direct translation when he translated the natural sceneries. For instance，he translated“溪长石磊磊，涧阔草蒙蒙” into “The longgorge choked with scree and boulders, The widecreek, the mist blurred grass.”Snyder used“choked”to express the original meaning expressed by“石磊磊”，which means “so many rocks”. Moreover，Snyder didn’t stiffly directly translated “石” into rocks，instead，he creatively divide the types of the rocks by the stream into scree and boulders, thus making more vivid image. And he adds mist in the second sentence, which has explained the reason for why the grass is blurred. There are many other translations where direct translations also appear. Such as he translated “沓嶂恒凝雪，幽林每吐烟” into “Jaggedscarps forever snowed in. Woods in the dark ravines spitting mist.” He reserved the personification in his translations, and the words he used are also adequate enough to restore the calm and quiet context in the original text. There are also some direct translations that have changed the original meanings, such as in the first poem titled《可笑寒山道》，Snyder wrongly interpretated “寒山道” into “the path to Han Shan’s place”, while “寒山”is a name of Chinese mountain in Chinese Zhe Jiang province, and the path is the mountain’s path. And in the poem titled《重岩我卜居》，Snyder directly translated “幽石”into “vague stone”. According to Chinese culture, “幽石“ means funeral stones. And in the original poem，Han Shan used the image of the funeral stones to show the quietness of the mountain. Snyder’s translation can’t totally express the quiteness，so it need to be improved. Also, in the poem titled《我家本住在寒山》，Snyder directly translated “寒山” into “Cold Mountain”. This translation is not good for Chinese cultural dissemination，because American readers can‘t know the real name of the mountain. Apart from direct translation，which is mostly used by Snyder in his ecoculture-loaded words’ translation，Snyder also used the way of generalizations. For instance, he generalized “畅岩” appeared in《一自遁寒山》to “cliffs ”，making “畅岩” lost its Chinese geographical background information. All in all, direct translation is the mostly-used way adopted by Snyder in ecoculture-loaded words’ translation. Though there are some inconsistencies caused by direct translation, to a great extent, Snyder still reserved most original meanings. According to the Functionalist Skopos Theory, the act of translation and the nature of translation is based on the target of the author. On the one hand, considering the identity of Gary Snyder as a nature protector and the beautiful and tranquil nature images showed in Han Shan’s poems, we can find that Snyder choose direct translation to restore the original artistic conception so as to persuade American people to protect the environment, because direct translation is the best way to achieve the goal of expressiveness. On the other hand, according to three principles in the Functionalist Skopos Theory, the law of purpose is superior to fidelity and coherence, and the law of coherence is superior to fidelity. We can see that in order to accelerate American’s understating and acceptance process, Snyder deliberately sacrificed fidelity in some cases mentioned above so as to achieve his translation target, that is to save American’s environment by directly presenting the beautiful landscapes in Han Shan’s poem, and he didn’t translate some names of the Chinese landscapes is because that it’s unnecessary.<br /> <br /> ==== physical material culture-loaded words ====<br /> According to Nida's classification of culture-loaded words, material culture-loaded words include words related to clothing, food, housing and transport. There are many material culture-loaded words in Han Shan’s poems, and Snyder used different kinds of ways of translation to achieve his different goals. On the one hand, in order to make American easier to understand the original meanings, Snyder used a way of domestication. For instance, in the following sentence of the second translated poem, the original writer has showed that he himself is a man who stays away from the fame and wealth, which is literally the value emphasized by Snyder:<br /> 寄语钟鼎家，虚名定无益。<br /> Go tellfamilies with silverware and cars<br /> <br /> &quot;What'sthe use of all that noise and money?&quot;<br /> In this poem，“钟鼎” originally comes from the ancient rich Chinese families，and “钟鼎家”thus means those Chinese rich people. Gary Snyder used the way of substitution, that is to replace “钟鼎” with “silverware and cars”, which is closer to the modern society. Snyder changed the image to let American better understand the meanings of the poem, thus achieving his target, which is to extricate people from the money-grubbing society.<br /> In the following poem, Snyder also showed his will of domestication:<br /> 手把两卷书，一道将一德。<br /> 住不安釜灶，行不赍衣裓。<br /> His handholds two book scrolls,<br /> One the Wayand one its Power.<br /> His shack'sgot no pots or oven,<br /> He goes fora long walk with his shirt and pants askew.<br /> “一道将一德” alludes to the classical book Tao Te Ching. Here Snyder didn’t use phonetic translation or annotation to reserve its exotic meaning, instead, he substitutes it with the American translated version the Way and one its Power published in 1934. Gary Snyder did this based on his culture confidence. <br /> Moreover, he substitute “釜灶” with “pots or oven”. “釜” is ancient cooking utensils, equivalent to today's pots and pans，and the character of “灶”is first found in the Golden Texts of the Spring and Autumn Period, and is explained in Shuowen Jiezi as &quot;from cave and drab (cù, meaning toad) to save the sound.&quot; Later on, the word &quot;zao&quot; (灶) was coined as a common character, which is a synonym for &quot;fire&quot;. The original meaning of zao is a device for cooking food over a fire. The derivation is that of a device for burning or forging. Here，in order to let people quickly know the meaning，Snyder used common materials in American society to replace the ancient Chinese materials. <br /> With a modernized tone, Snyder further changed the meaning of the sentence “行不赍衣裓”,which originally means without bringing any clothes when travelling into “with his shirt and pants askew”, forming an image of hippies. Here, Snyder adopted the way of creative rebellion to popularize his translation in American society, for there is a popular stream of “hippies culture” in American society against the dominating American social value at that time. <br /> In general, we can infer that Gary Snyder mostly used substitution so as to meet his own target of getting his translations easier accepted.<br /> <br /> ==== sociocultural-loaded words ====<br /> According to Nida's classification, socio-cultural load words refer to the socio-cultural aspects of socio-cultural load words. The socio-cultural load words include titles, social rules, social customs, etc. In Han Shan’s poems, there are many culture-loaded words expressing Chinese social customs, while Snyder changed some terms to meet his own needs. For instance, the following translated poem has shown Snyder’s translation skills:<br /> 不学田舍翁，广置牛庄宅。<br /> I've got nouse for the kulak<br /> With hisbig barn and pasture –<br /> “田舍翁”is a traditional Chinese title, which refers to old farmers, usually signifies aged farmers with a collection of fortune when appearing in traditional Chinese culture. And the whole sentence listed above can be understood as follows: I don’t want to learn from those rich farmers, who ambitiously collect cattle, lands and houses. Gary Snyder replaced this Chinese ancient term with kulak, which is a term borrowed from Russian language. And it has been widely used by American referring to those rich farmers. Gary Snyder domesticated the term so as to express his ideas of staying away from those greedy men more accurately. And he replaced “牛庄宅“ with barn and pasture. Here we can see Snyder merged his own childhood experience to his translation, because he used to stay in the farm in Oregon when he was a child. <br /> In his translated poem《山中何太冷》，Snyder also comply with domestication to let target text better accepted by target text reader:<br /> 草生芒种后，叶落立秋前<br /> Grass isstill sprouting at the end of June,<br /> Leavesbegin to fall in early August.<br /> In this translation，“芒种”，the ninth of the twenty-four solar terms is translated into “the end of June”，while in China，the time referred by “芒种” is the early June in Gregorian calendar. Gary Snyder adopted the method of creative rebellion to let the term “芒种” fit for the chronology in America，which is different from Chinese chronology.<br /> In the following poem，in order to create a kind of hippies image，Snyder also creatively changed the original meaning of the text：<br /> 炼药空求仙，读书兼咏史。<br /> Trieddrugs, but couldn't make Immortal;<br /> Read booksand wrote poems on history.<br /> In the original text，“炼药“ is a professional term in Chinese Buddhism, which means spoiling some selected materials in a big pot to purify the substance inside them thus creating a kind of medicine for special usage. For example, the immortal pill is to extend one’s life expense. If it is taken, one can shun death and acquire immortality. In Snyder’s translation, which has totally changed the original meaning, he substituted it with “tried drugs”，which can be usually seen in the group of hippies. They tried drugs to extricated themselves from the secular pain, similar to the deed “炼药“. Gary Snyder’s rebellious translation has created a kind of cynical hippies image, quite different from the original monk image of Han Shan. Though it to some extent, had distorted Han Shan’s image, he successfully won the popularity for his translation among American society. Some people even called Gary Snyder “American Han Shan”.<br /> <br /> ==== religious culture-loaded words ====<br /> According to Naida's classification, religious culture-loaded words are those that have cultural loadings about Buddhism and Taoism. Gary Snyder has a profound thinking of Zen because his travel and learning experience in Japan. And because Zen is an essential branch in Buddhism, Gary Snyder also admires the Buddhist culture of China. Han Shan, who is a Chinese monk and hermit, also merged many Buddhist terms to his poems. By analyzing Snyder’s translation of these religious term, we can discern some of his translation target according to the Functionalist Skopos Theory.<br /> In the following poem, Snyder used direct translation to restore the original meaning of the Buddhist term:<br /> 可贵天然无价宝，埋在五阴溺身躯。<br /> Honor thispriceless natural treasure<br /> <br /> Concealedin five shadows, sunk deep in the flesh.<br /> “五阴” , a Buddhist term, of which the word &quot;阴&quot; means &quot;to cover up&quot;. There are five kinds of things (the five kinds of things are respectively lust, suffering, thought, action, and consciousness) that obscure one's true nature and cause one's mind to become confused and create all kinds of karma. So those five things are called the &quot;五阴“. Gary Snyder directly translated it into “five shadows”, because in English, the word “shadow” also embodies a kind of gloomy meaning. In the dictionary, the plural form “shadows” have a meaning correlated to “阴”——a source of gloom or unhappiness. Thus, the direct translation didn’t distort the original meaning of “五阴”，and can make the target text readers fully understand the Buddhist term. This translation achieved three basic principles of the Functionalist Skopos Theory: Firstly, it satisfied the need for persuading people not to indulge themselves in the secular sufferings by introducing Buddhist thinking. Secondly, it achieved the second principle of Coherence, that is to say, it can fit for the culture of the target language, and can be fully accepted by the readers. Thirdly, it achieved the principle of fidelity. It didn’t distort the meaning by directly translate it. This kind of translation case is rare, because the third principle is the hardest to achieve, whose success is demanding because it is based on the condition that there is a corresponding meaning in the culture of the target language. Given the situation mentioned above, the following Buddhist terms showed in two cases have lost its original meanings because there is not a corresponding term in English:<br /> 饥餐一粒伽陀药，心地调和倚石头。<br /> Hungry, Ieat one grain of Immortal medicine<br /> Mind solidand sharp; leaning on a stone.<br /> In this case, “伽陀药” is known in Buddhism as the medicine of immortality. According to Buddhist thought, this medicine is spiritual and wondrous, of immense value, and can be taken to remove all diseases. It is also a true remedy in Chinese medicine that can cure many diseases. As there is no such a corresponding object in western culture, Gary Snyder chose to sacrifice the third principle of fidelity to protect his purpose. He adopted the method of paraphrasing, as he translated it into “immortal medicine” to explain the function of “伽陀药”.<br /> 尽作地狱业，一入何曾极。<br /> He justsets up a prison for himself.<br /> Once in hecan't get out.<br /> And in this case, Snyder used the method of substitution to modernize and clarify the original Buddhist term “地狱业”, which in Buddhism means the sins conducted by people, who will be dumped to the eighteenth hell and suffer from the hell’s fire. Snyder modernized the original meaning, that is to say, he substituted hell with prison, which is a kind of modern institution. <br /> Even though Snyder removed its religious meaning, he still expressed the meanings of the necessity of being kind to modern people. Snyder used a method of substation, though steering away from the third principle of fidelity, he means to achieve his purpose, that is to bring about an easier sentence for American to understand.<br /> <br /> ==== linguistic culture-loaded words ====<br /> According to Nida's classification, linguistic and cultural load words are words that have characteristics about the Chinese language and culture. They include some idioms, historical allusions, literary works and so on, besides, the unique structure and style of different languages formed by different culture also count. Because the genre of poem and the characteristics of Chinese language, there are numerable reduplicative words in Han Shan’s poem:<br /> 杳杳寒山道，落落冷涧滨。<br /> 啾啾常有鸟，寂寂更无人。<br /> 淅淅风吹面，纷纷雪积身。<br /> 朝朝不见日，岁岁不知春。<br /> Rough anddark - the Cold Mountain trail,<br /> Sharpcobbles - the icy creek bank.<br /> Yammering,chirping - always birds<br /> Bleak,alone, not even a lone hiker.<br /> Whip, whip- the wind slaps my face<br /> Whirled andtumbled - snow piles on my back.<br /> Morningafter morning I don't see the sun<br /> Year after year,not a sign of spring.<br /> This poem is a paradigm for Han Shan’s usage of reduplicative words, so through analyzing Snyder’s translation of this poem, we can observe his translation attitude of the linguistic culture-loaded words. <br /> In this poem, Snyder used the ways of paraphrasing、direct translation、creative rebellion respectively. In the first sentence, he translated “杳杳” into “Rough anddark”，sacrificing the beauty of the poetic musicality and the poetic form but clearly explaining the darkness of the trail of Han Shan for the target text readers. However, the meaning of “落落” is wrongly paraphrased by Snyder in his following translation. The original meaning of it is to describe the loneliness of a place, but Snyder mistranslated an adjective into an object——Sharpcobbles, which has distorted the original meaning. In the second sentence, both the translations of “啾啾”and “寂寂” have reserved the original meaning perfectly, while the former is translated by direct translation, and the latter paraphrasing. The former also reserves the musicality of the poem by onomatopoeia. In the third sentence, Snyder used creative rebellion to translate the image of the strong wind and the heavy snow. Though translated words are different from the form of the original text, the meanings of them have been fully expressed. And in the last sentence, Gary Snyder both reserved the forms of the original text and the meaning of it by direct translation.<br /> <br /> === Conclusion ===<br /> From the text translation analysis presented above, we can find that Gary Snyder has used the methodology embodied by the Functionalist Skopos Theory by finding that Gary Snyder changed his translation methods when encountering different linguistic culture-loaded words. When there was a corresponding word in the target language, he used direct translation, and when there is not, he sacrificed the principle of fidelity to let the target text smoothly merged to the target culture by using paraphrasing、creative rebellion、substitution and so on, all of which is based on his purpose of disseminating the thinking of staying away from the fame and wealth and nature protection. It has been proved that his translation of Han Shan’s poems enjoyed a great popularity among American, especially those hippies. In his translation, he creatively merged western culture and his own thinking derived from his own experience to build a different image of Han Shan，who is rebellious against the secular desires and love nature. After his translation was published in America in 1965, there was a popular stream of “The hit of Han Shan” in America. The exotic culture blended with the domesticated culture in his translation, desperately absorbing American and other westerners to read. Though some revisions of the original text distorted the image of the Chinese monk, Han Shan, and generated some misunderstandings at that time, the publication of Gary Snyder’s Riprap and Cold Mountain Poems still has a good impact on the transcultural communication between America and China and is good for Chinese culture’s going-out. Since its publication, it has been a hit. Professor Zhong Ling described in her book: From 1960s to 1970s, if you run into any Hippie-like college student with long hair and hare fee when wander on campus, you can ask him or her if he or she has ever read Cold Mountain Poetry. The answer would be affirmative. Moreover, you will be told how much they appreciate the “Hippie” characteristics in the poems and how much they worship Han Shan. (钟玲 .2002, 248-265). We can find that the Functionalist Skopos Theory is beneficial to Gary Snyder’s creative rebellion, because the principle of fidelity is inferior to the coherence and the purpose. Thus, Gary Snyder can extricate himself from the translation limitation, that is to say, he can changed both the forms and the meanings of the original text to achieve his targets. Only in this way can Han Shan’s poems be transmitted to America and arise many people’s attention in another country.<br /> <br /> === Reference ===<br /> SnyderGary. 1965. Riprap and Cold Mountain Poems. 无出版地 : Shoemaker &amp; Hoard, 1965.<br /> 郭小春. 2015. 寒山诗在美国的接受和变异研究. 无出版地 : 西南交通大学, 2015.<br /> 赵渭绒. 2011. 从变异学的角度看寒山诗在中美的接受差异［Ｊ］. 中外文化与文论. 2011年, 2.<br /> 钟玲. 2002. 寒山诗的流传［Ａ］，香港中国古典文学研究论文（１９５０－２０００）［Ｃ］．. 无出版地 : 南京：凤凰出版社, 2002.<br /> —. 2008. 寒山与美国诗歌作品，１９８０至２００７［Ｊ］．. 无出版地 : 学术论坛, 2008.<br /> 周晓琳，胡安江. 2008. 寒山诗在美国的传布与接受［Ｊ］. 西南政法大学学报. 2008年, 2.</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132119 2021-12-13T13:57:20Z

<p>He Qin: /* 4.4.1 Literary translation */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011, master thesis no page number) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing, 2010,master thesis no page number)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009,master thesis no page number)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011,master thesis no page number)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in ''Jiu Zhang'' are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (Wan Li，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his old compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> <br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> <br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132112 2021-12-13T13:56:21Z

<p>He Qin: /* References */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011, master thesis no page number) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing, 2010,master thesis no page number)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009,master thesis no page number)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011,master thesis no page number)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in ''Jiu Zhang'' are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (Wan Li，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> <br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132111 2021-12-13T13:55:44Z

<p>He Qin: /* 4.2.1 Literary Translation */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011, master thesis no page number) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing, 2010,master thesis no page number)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009,master thesis no page number)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011,master thesis no page number)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in ''Jiu Zhang'' are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (Wan Li，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132110 2021-12-13T13:54:55Z

<p>He Qin: /* 3.Classification of Culture-loaded words in Jiu Zhang */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011, master thesis no page number) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing, 2010,master thesis no page number)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009,master thesis no page number)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011,master thesis no page number)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in ''Jiu Zhang'' are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132105 2021-12-13T13:53:29Z

<p>He Qin: /* 2.4 Pervious Research */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011, master thesis no page number) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing, 2010,master thesis no page number)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009,master thesis no page number)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011,master thesis no page number)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132097 2021-12-13T13:51:42Z

<p>He Qin: /* References */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132087 2021-12-13T13:48:07Z

<p>He Qin: /* References */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》[M] 许渊冲译. 北京：五洲传播出版社，2011 Elegies of the South<br /> Bai Chengliang, Tian Chuanmao. The cultural connotation of mythological imagery and translation methods of Chu Ci [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Miao Jing. A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Qian Mengyu. The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wan Li. Strategies for translating the imagery of herb and beauty in Chu Shi [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Wang Yuhan. The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> Wu Fei, Long Zhuo, Luo Yunhui. A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Xu Jing. A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory: [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Yu Yesheng. An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> Zhang Yige. A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132081 2021-12-13T13:45:54Z

<p>He Qin: /* 4 何芩 The Translation of Cultural-loaded words in Jiu Zhang in Chu Ci Translated by Xu Yuanchong */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> He Qin, Hunan Normal University, China<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132074 2021-12-13T13:43:52Z

<p>He Qin: /* 2.3 Jiu Zhang */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132022 2021-12-13T13:27:45Z

<p>He Qin: /* 2.2 Xu Yuanchong */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132020 2021-12-13T13:27:05Z

<p>He Qin: /* 2.1 Qu Yuan and Chu Ci */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132017 2021-12-13T13:25:59Z

<p>He Qin: /* 2.1 Qu Yuan and Chu Ci */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. --[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132015 2021-12-13T13:23:56Z

<p>He Qin: /* 1.3 Structure of the Research */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material ''Jiu Zhang'' and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. --[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> &quot;''Chu Ci''&quot; uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132012 2021-12-13T13:22:54Z

<p>He Qin: /* 1.1 Research Background */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of ''Chu Ci'' has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the precious research on the translation of Chu Ci. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. --[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> &quot;''Chu Ci''&quot; uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=132006 2021-12-13T13:21:15Z

<p>He Qin: /* Abstract */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> <br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the Chu State, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and techniques Xu Yuanchong has adopted in translating different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of Chu Ci has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the Chu Ci. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the ''Chu Ci''. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the precious research on the translation of Chu Ci. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces ''Chu Ci'' and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the previous research on the translation of ''Chu Ci''. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in ''Jiu Zhang''. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the Chu State during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. --[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> &quot;''Chu Ci''&quot; uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ''Chu Ci'' uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherits the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the Chu state was to believe in ghosts and gods, and religious rituals and prayers were popular among the people.Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the methods and theories of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty and his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 03:46, 13 December 2021 (UTC)<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of ''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the ''Chu Ci'', and has implications for the results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> <br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the Chu Sate and generally fall into 4 categories—persons, plants and animals, places, and objects.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.1 Persons ====<br /> <br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> <br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> One of the typical imagine in ''Chu Ci'' is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help to reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.3 Places ====<br /> <br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> Places mentioned in ''Chu Ci'' include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the Chu State. “瑶之圃” is a fictional name, which refers to the palce where the gods live.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 04:01, 13 December 2021 (UTC)<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning.For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=129743 2021-12-07T19:41:51Z

<p>He Qin: </p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the State of Chu, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and technique Xu Yuanchong has adopted in different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> <br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of Chu Ci has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the Chu Ci. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the precious research on the translation of Chu Ci. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> &quot;''Chu Ci''&quot; uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> ==== 3.1 Persons ====<br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=129742 2021-12-07T19:40:28Z

<p>He Qin: </p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> [https://bou.de/u/wiki/Culture_loaded_words|Overview Page of Culture Loaded Words]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the State of Chu, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and technique Xu Yuanchong has adopted in different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> <br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of Chu Ci has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the Chu Ci. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the precious research on the translation of Chu Ci. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> &quot;''Chu Ci''&quot; uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> ==== 3.1 Persons ====<br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=129741 2021-12-07T19:38:07Z

<p>He Qin: </p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]][Overview Page of Culture Loaded Words|https://bou.de/u/wiki/Culture_loaded_words]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the State of Chu, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and technique Xu Yuanchong has adopted in different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> <br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of Chu Ci has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the Chu Ci. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the precious research on the translation of Chu Ci. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> &quot;''Chu Ci''&quot; uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> ==== 3.1 Persons ====<br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=129740 2021-12-07T19:36:07Z

<p>He Qin: </p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|[Back to translation project overview]][https://bou.de/u/wiki/Culture_loaded_words]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the State of Chu, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and technique Xu Yuanchong has adopted in different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> <br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of Chu Ci has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the Chu Ci. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the precious research on the translation of Chu Ci. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> &quot;''Chu Ci''&quot; uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> ==== 3.1 Persons ====<br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=129738 2021-12-07T19:28:58Z

<p>He Qin: </p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words[https://bou.de/u/wiki/Culture_loaded_words]]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the State of Chu, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and technique Xu Yuanchong has adopted in different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> <br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of Chu Ci has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the Chu Ci. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the precious research on the translation of Chu Ci. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> &quot;''Chu Ci''&quot; uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> ==== 3.1 Persons ====<br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

He Qin https://bou.de/u/index.php?title=Cult_Load_Words_EN_4&diff=129736 2021-12-07T19:24:09Z

<p>He Qin: /* Chapter 5 Conclusion and Reflection */</p> <hr /> <div>'''Culture Loaded Words'''<br /> <br /> [[Culture_Loaded_Words|Overview Page of Culture Loaded Words]]<br /> <br /> 30 Chapters（0/30)<br /> <br /> [[Cult_Load_Words_EN_1]] [[Cult_Load_Words_EN_2]] [[Cult_Load_Words_EN_3]] [[Cult_Load_Words_EN_4]] [[Cult_Load_Words_EN_5]] [[Cult_Load_Words_EN_6]] [[Cult_Load_Words_EN_7]] [[Cult_Load_Words_EN_8]] [[Cult_Load_Words_EN_9]] [[Cult_Load_Words_EN_10]] [[Cult_Load_Words_EN_11]] [[Cult_Load_Words_EN_12]] [[Cult_Load_Words_EN_13]] [[Cult_Load_Words_EN_14]] [[Cult_Load_Words_EN_15]] [[Cult_Load_Words_EN_16]] [[Cult_Load_Words_EN_17]] [[Cult_Load_Words_EN_18]] [[Cult_Load_Words_EN_19]] [[Cult_Load_Words_EN_20]] [[Cult_Load_Words_EN_21]] [[Cult_Load_Words_EN_22]] [[Cult_Load_Words_EN_23]] [[Cult_Load_Words_EN_24]] [[Cult_Load_Words_EN_25]] [[Cult_Load_Words_EN_26]] [[Cult_Load_Words_EN_27]] [[Cult_Load_Words_EN_28]] [[Cult_Load_Words_EN_29]] [[Cult_Load_Words_EN_30]] ...<br /> <br /> [[Book_projects|Back to translation project overview]]<br /> <br /> [[DCG-To-Do|To the To Do list]]<br /> <br /> =4 何芩 The Translation of Cultural-loaded words in ''Jiu Zhang'' in ''Chu Ci'' Translated by Xu Yuanchong=<br /> <br /> === Abstract ===<br /> ''Chu Ci'' is of great literary and historical value as one of the origins of Chinese poetry. One of the dominant feature is that Chu Ci is of much regional color of the State of Chu, where the Hu Xiang Culture originated. The author tries to analyze the culture-loaded words in ''Jiu Zhang'', nine elegies in ''Chu Ci'', to find out what strategies and technique Xu Yuanchong has adopted in different kinds of culture-loaded words. In this paper, we try to find out the Xu's preference on the translation strategies for culture-loaded words and the degree of manifestation of Hu Xiang culture in his translation. The analysis shows that Xu tends to adopt various translation methods on culture-loaded words, and dilutes the Hu Xiang cultural characteristics, in order to adapt to the form of poetry, thus failing to fully achieve the dissemination of Hu Xiang culture.<br /> <br /> === Key Words ===<br /> Culture-loaded words; Hu Xiang Culture; Chinese Classics Translation; <br /> <br /> === 题目 ===<br /> <br /> 《九章》许渊冲译本文化负载词的翻译<br /> <br /> === 摘要 ===<br /> <br /> 《楚辞》作为中国诗歌源头之一，具有十分重要的文学价值与历史价值，其主要特征表现在浓重的楚地色彩，作为湖湘文化的源头之一。作者尝试分析《楚辞》中《九章》内的文化负载词，分析许渊冲在各类文化负载词英译中采取的翻译技巧与翻译策略。本文试探寻许译本对于文化负载词翻译规律及湖湘文化在其翻译中的传播效果，分析表明许译本中文化负载词采用了多种翻译方法，为适应诗歌形式稀释了湖湘文化特质，未能很好实现湖湘文化传播。<br /> <br /> === 关键词 ===<br /> 翻译；文化负载词；中国典籍；湖湘文化;文化意象<br /> <br /> <br /> === 1.Introduction ===<br /> ==== 1.1 Research Background ====<br /> In today's cultural globalization, the English translation of Chu Ci has a far-reaching impact on the intercultural communication of Chinese traditional culture, the spread of Chinese culture abroad and global cultural exchanges. <br /> <br /> Due to the different cultural backgrounds, the translation of mythological images has become a difficult task in the cross-cultural communication and dissemination of the Chu Ci. The large number of culturally loaded words of mythological imagery is a great challenge for translation, as they contain rich cultural connotations and reflect specific linguistic and cultural characteristics.<br /> <br /> ==== 1.2 Research Questions ====<br /> <br /> What are the classification of culture-loaded words in Jiu Zhang？<br /> <br /> What are the translation methods Xu Yuanchong adopted on different classes of culture-loaded words？<br /> <br /> ==== 1.3 Structure of the Research ====<br /> <br /> Chapter 1 gives a brief introduction on the research background and lists the research questions. Chapter 2 introduces Chu Ci and its author Qu Yuan, the translator Xu Yuanchong, the specific research material Jiu Zhang and the precious research on the translation of Chu Ci. Chapter 3 gives a definition of culture-loaded words and classification of cuture-loaded words in Jiu Zhang. Chapter 4 analyzes the translation methods Xu adopted on each class of culture-loaded words. Chapter 5 offers conclusions and reflections.<br /> <br /> === 2.Literature Review ===<br /> ==== 2.1 Qu Yuan and ''Chu Ci'' ====<br /> <br /> Qu Yuan (340 BC-278 BC) was a poet and statesman of the State of Chu during the Warring States period (403-221 B.C.). His surname was Mi (芈姓), Qu (屈氏), his name was Ping (平), and his &quot;zi&quot; was Yuan (原). He was born in Danyang, Chu (now Zigui, Hubei) in about 340 B.C. He was a descendant of Qu Xia, son of King Xiong Tong of Chu. <br /> <br /> Qu Yuan was the first great patriotic poet in Chinese history, the founder of Chinese romantic literature, and is known as &quot;the progenitor of Chinese poetry&quot; and &quot;the progenitor of rhetoric&quot;. He is the founder and representative of the &quot;Chu Ci&quot; and started the tradition of &quot;herb and beauty&quot;.<br /> <br /> In his early years, Qu Yuan was trusted by King Huai of Chu and served as a &quot;Zuotu&quot; and a great official of Sanlu, who was also in charge of domestic and foreign affairs. Qu Yuan was ambitious of politics and an advocate of &quot;beautiful government&quot;. He welcomed intellects and appealed for revision of laws domestically, and sought for alliance with Qi against Qin externally. However, he was exiled to the north of Han and the Yuan-Xiang River because he was ostracized and slandered by the nobles.<br /> <br /> Though suffered from exile and exclusion, Qu's writing is beautiful and imaginative. In the form of language, Qu Yuan's works break through the pattern of the four-character stanzas of the Book of Songs, with 5-9 characters per stanza, as well as three-character and ten-character stanzas, with a varied and flexible sentence structure; the word &quot;兮&quot; is used at the end of the stanzas, as well as &quot;之&quot;, &quot;于&quot;, &quot;乎&quot;, &quot;夫&quot;, and &quot;而&quot; and other empty words to harmonize the syllables and create a rhythm of ups and downs and three sighs. In short, his works have great creativity from content to form. As for the content, he used a lot of myths and legends, and brought the sun, moon, wind and clouds into the poems, making the rhetoric very splendid. He is good at using beauty and herbs as a metaphor for a gentleman, and evil wood and filthy grass as a metaphor for a villain. Through the technique of simile, he writes to the fullest extent the scene where the king believes in slander, treacherous people are in power, and patriotic people have no way to serve the country.<br /> <br /> ''Chu Ci'' is the earliest collection of romantic poetry and the source of romantic literature. The name &quot;''Chu Ci''&quot; was first introduced in ''The Records of the Grand Historian - Cool Officials''. It is evident that this name existed at least in the early Han Dynasty. Its original meaning was a general reference to the songs and rhetoric of the State of Chu, but later it became a specific term for the new poetic style represented by the compositions of Qu Yuan of the State of Chu during the Warring States period.<br /> <br /> At the end of the Western Han Dynasty, Liu Xiang compiled the works of Qu Yuan and Song Yu, as well as those of Huainan Xiaoshan, Dongfang Shuo, Wang Bao and Liu Xiang in the Han Dynasty, into a collection of 16 chapters, which was named &quot;''Chu Ci''&quot;. Later, Wang Yi added his own work &quot;''Jiu Si''&quot;, which became the 17th chapters. The 17 chapters are: &quot;''Li Sao''&quot;, &quot;''Jiu Ge''&quot;, &quot;''Tian Wen''&quot;, &quot;''Jiu Zhang''&quot;, &quot;''Yuan You''&quot;, &quot;''Bu Jv''&quot;, &quot;''Yu Fu''&quot;, &quot;''Jiu Bian''&quot;, &quot;''Zhao Hun''&quot;, &quot;''Da Zhao''&quot;, &quot;''Xi Shi''&quot;, &quot;''Zhao Yinshi''&quot;, &quot;''Qi Jian''&quot;, &quot;''Ai Shi Ming''&quot;, &quot;''Jiu Huai''&quot;, &quot;''Jiu Tan''&quot; and &quot;''Jiu Si''&quot;. The structure of these seventeen chapters became the common text in later times.<br /> <br /> &quot;''Chu Ci''&quot; uses the dialects and rhythms of the Chu region to describe the mountains, rivers, people and history of the Chu, and has a strong regional cultural color. The entire book is based on the works of Qu Yuan, and the rest of the poems also inherit the form of Qu Fu, with powerful feelings and flowing imagination. During the Warring States period, the custom of the state of Chu was to believe in ghosts and gods, and religious rituals and prayers were popular among the people. Qu Yuan was in the Chu state where witchcraft was prevalent, and the rich myths and legends and primitive pantheism gave him ample nourishment for his literary creation.<br /> <br /> ==== 2.2 Xu Yuanchong ====<br /> Xu Yuanchong (1921-2021) was born in Nanchang, Jiangxi Province. He graduated from the Department of Foreign Languages of the Southwest United University in 1944 and entered the Institute of Foreign Literature of the Graduate School of Tsinghua University in 1944, and has been a professor at Peking University since 1983. He has been engaged in literary translation for more than sixty years, and his translations cover Chinese, English and French languages, concentrating on the English translation of ancient Chinese poetry, and developing the method and theory of rhyming poetry. He has translated and published sixty books in Chinese, English and French, including The Book of Poetry, The Book of Chu, Selected Poems of Li Bai and so on. (https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> In 2010, he received the Lifetime Achievement Award for Chinese Translation Culture, and on 2 August 2014, Xu Yuanchong was awarded the Aurora Borealis Prize for Outstanding Translation of Fiction Literature, one of the highest awards in the international translation field, and he is the first Asian translator to receive this award.(https://zh.wikipedia.org/wiki/許淵冲)<br /> <br /> ==== 2.3 ''Jiu Zhang'' ====<br /> <br /> ''Jiu Zhang'', as its name suggests, has nine pieces of poems with various topics and content because they were composed in different stages and places. The nine pieces are ''Xi Song'' (''I Make My Plaint''), ''She Jiang'' (''Crossing the River''), ''Ai Ying'' (''Lament for the Chu Capital''), ''Chou Si'' (''Sad Thoughts Outpoured''), ''Huai Sha'' (''Longing for Changsha''), ''Si Mei Ren'' (''Thinking of the Fair One''), ''Xi Wang Ri'' (''The Bygone Days Regretted''), ''Jv Song''(''Hymn to the Orange Tree''), and ''Bei Hui Feng'' (''Grieving at the Whirlwind''). <br /> <br /> ''Xi Song'' (''I Make My Plaint'') expresses Qu's depressed and discontented mood after being attacked politically. ''She Jiang'' (''Crossing the River'') seems a depiction of Qu's exile footprints and the contradiction between Qu's virtue and dark reality. ''Ai Ying'' (''Lament for the Chu Capital'') expresses Qu's concern and compassion for the destroyed nation and suffering people. ''Chou Si'' (''Sad Thoughts Outpoured'') expresses depression after his political suggestions was rejected. ''Huai Sha'' (''Longing for Changsha'') was composed not long before Qu drowned himself; Some believe ''Huai Sha'' means holding a stone and drowned in the river, but some others including Xu Yuanchong interpreted it as longing for Changsha. It shows Qu's determination to rather die as a martyr for his ideals than to follow the evil. ''Si Mei Ren'' (''Thinking of the Fair One'') reflects Qu's longing for his majesty, but his reluctance to bend himself to the dark reality.''Xi Wang Ri'' (''The Bygone Days Regretted'') is considered by some to be Qu Yuan's last words. It recounts Qu’s political experiences throughout his life, and expresses his deep regret that his ideals could not be realised due to the slanderers and the king’s mediocrity, and his determination to die. ''Jv Song'' (''Hymn to the Orange Tree'') is generally regarded as an early work by Qu Yuan, and is an anthropomorphic description of the orange’s image and characteristics, which can be seen as a microcosm of the author's personality and character. ''Bei Hui Feng'' (''Grieving at the Whirlwind'') reveals a sense of melancholy and anguish.<br /> <br /> ==== 2.4 Pervious Research ====<br /> ''Comparing the Two English Translations of Chu Ci from the Perspective of Translation Ethics'', the author takes the four ethical models proposed by Dutch translation theorist Andrew Cheesman --the ethics of reproduction, the ethics of service, the ethics of communication, and the ethics of regulation - as a guide from the perspective of translation ethics, and analyzes the two English translations of Chu Ci (Xu Yuanchong's and Sun Dayu's translations respectively). He dissects the two translations of the Chu Ci in terms of artistic images, poetic musical effects and poetic morphology. (Miao Jing, 2011) <br /> <br /> In ''A Study of the English Translation of the Book of Chu from the Perspective of Conceptual Integration Theory'', the author analyses the same or different approaches to the same imagery and allusions by different translators through the study of several versions of the English translation of c''Italic text'', and explains the process of integration of thinking behind such differences and similarities from the perspective of conceptual integration. The results of the study also show that the theory of conceptual integration has certain guiding and explanatory power for the English translation of the Chu Ci, and has implications for The results of the study also show that the theory of conceptual integration has some guiding and explanatory power for the English translation of the Chu Writings, and has an enlightening effect on the English translation of Chinese classics. (Xu Jing 2010)<br /> <br /> ''From a Philosophical HermeneuticThe translator's subjectivity in the English translation of Li Sao from the perspective of philosophical hermeneutics'' takes philosophical hermeneutics as the theoretical basis. Theoretically based on philosophical hermeneutics, four English translations of ''Li Sao'' (by David Hawks, by Xu Yuanchong, by Yang Xianyi, and by Sun Dayu) are selected. to examine the subjectivity of the translators. The study of the subjectivity of the translators is based on the theoretical basis of hermeneutics. It is argued that the theories of “prejudice”, “historical nature of understanding” and the study of the subjectivity of the translator can help to expand the thinking of translation studies by applying them to the study of the subjectivity of the translator.(Wang Yuhan, 2009)<br /> <br /> ''Analysis of Arthur Wiley's Translation from the Perspective of Translator Subjectivity ‘The Nine Songs: A Study of Witch Culture in Ancient China’'' is a descriptive study of Arthur Wylie's translation of The Nine Songs from the perspective of the translator's subjectivity. The study examines the manifestation of the translator's subjectivity in the process of translation, and analyses the influence of the translator's cultural position, translation motives, aesthetic views and other factors on the translator's choice of text, translation methods and strategies. It also analyses the influence of factors such as the translator's cultural stance, translation motivation and aesthetic perspective on the translator's text selection, translation methods and strategies.(Yu Yesheng, 2011)<br /> <br /> === 3.Classification of Culture-loaded words in Jiu Zhang ===<br /> The culture-loaded words in Jiu Zhang are usually related to mythology and the State of Chu and generally fall into 4 categories—persons, plants and animals, places, and objects.<br /> ==== 3.1 Persons ====<br /> Persons include those from mythology and from historical records. Names from the mythology are usually gods’ name, while for historical figures, there are usually stories and allusions behind the names. For instance, in the sentence “驾青虬兮骖白螭，吾与重华游兮瑶之圃。” selected from She Jiang (Crossing the River), “重华” (Chong Hua) is the name of a emperor in an ancient legend. While in “晋申生之孝子兮，父信谗而不好。” selected from Xi Song (I make My Plaint), “申生” (Shen Sheng) was the son of Emperor Xian in Jin dynasty and here Qu alluded the story of Shen Sheng being set up and forced to suicide. <br /> <br /> ==== 3.2 Plants and Animals ====<br /> One of the typical imagine in Chu Ci is the herb, which conveys emotional meaning according to the context. There are also some imaginary animals in legends that help reveal personal feelings. For example, in “鸾鸟凤皇，日以远兮。燕雀乌鹊，巢堂坛兮。露申辛夷，死林薄兮。” selected from She Jiang (Crossing the River), “鸾鸟凤皇” refers to the hallowed birds in mythology and “露申辛夷”, the herbs.<br /> <br /> ==== 3.3 Places ====<br /> Places mentioned in Chu Ci include real ones and fictional ones. For Example, “郢” was the name of Chu’s capital, and “湘” and “沅” are the names for two main rivers in the State of Chu. “瑶之圃” is a fictional name, which refers to where the gods live.<br /> <br /> ==== 3.4 Objects ====<br /> <br /> There are objects including tools that are specific to Chinese culture with metaphorical meaning For example, in “章画志墨兮，前图未改。” selected from Huai Sha (Longing for Changsha), “墨” refers to a tool that carpenters use to draw straight lines, and its metaphorical meaning is that Qu is sticking to integrity and straightness.<br /> <br /> <br /> === 4.Translation Methods for Each Class ===<br /> ==== 4.1 Persons ====<br /> ===== 4.1.1 Transliteration with Explanation/Footnote =====<br /> Example 1:伍子逢殃兮，比干菹醢。——《涉江》<br /> General Wu suffered his last defeat; ’oh!<br /> Lord Bi Gan was cut into minced meat. （Crossing the River）<br /> <br /> “伍子” and “比干” are two allusions. In Xu’s translation “伍子” was translated as “General Wu” which explains his identity as a general, and “比干” was translated as “Lord Bi Gan” which explains his identity as a lord. However, readers might be confused with the allusions with only little explanation on their identity. It might be better to offer a brief summary of their stories in the footnote. <br /> <br /> Example 2: 令五帝使㭊中兮，戒六神与向服。——《惜诵》<br /> I bid the Five and Six Lords to, oh! （I Make My Plaint）<br /> (Footnote) Five: Lords of the North, South, East, West and Centre. <br /> (Footnote) Six Lords: Lords of the wind, rain, stars, and etc.<br /> <br /> “五帝” and “六神” are translated in to “the Five and Six Lords” with explanatory footnote that helps readers to understanding what they are and it makes the form clean and neat to match the flow of poem.<br /> <br /> ===== 4.1.2 Free Translation =====<br /> Example 3: 桑扈臝行。——《涉江》<br /> The recluse ran about, unclad. （Crossing the River）<br /> <br /> “桑扈” (Sang Hu) was translated as “the recluse” because he lived alone and deliberately avoided other people. However, Xu’s translation may bring about confusion because there were other recluses in Chinese history who didn’t run about unclad. Here, a specific person’s name was translated as a kind of people, which hinders readers’ understanding of Chinese historical figure.<br /> <br /> ===== 4.1.3 Omission =====<br /> Example 4: 俾山川以备御兮，命咎繇使听直。——《惜诵》<br /> I call on streams and mountains here and there, oh!<br /> To be magistrates fair and square. （I Make My Plaint）<br /> <br /> “山川” refers to the gods of mountains and “咎繇”(Gaoyao) was the name of “皋陶” who was said to be an official in charge of the laws during Emperor Yao’s reign. However, the two was omitted in the translation.<br /> <br /> ==== 4.2 Plants and Animals ====<br /> ===== 4.2.1 Literary Translation =====<br /> Example 5: 鸟飞反故乡兮，狐死必首丘。——《哀郢》<br /> A bird flies nowhere but home-bounded; oh!<br /> A dying fox turns its head to its mound. (Lament for the Chu Capital)<br /> <br /> “鸟” and “狐” was translated as “bird” and “fox” followed by the explanation of the image. This stanza was a prevailing idiom at Qu’s period, which means that a bird would finally go back to its hometown no matter how far it had gone and the fox would turn its head to the hill where it was born. The idiom indicates a powerful passion and love for the hometown. And in the translation, the passion was expressed beautifully.<br /> <br /> Example 6: 擣木兰以矫蕙兮，糳申椒以为粮。——《惜诵》<br /> Magnolia and orchid I pound, oh!<br /> And pepper flowers for food are ground. (I Make My Plaint)<br /> <br /> “木兰” and “申椒” were translated as “magnolia” and “pepper flowers”. These are literal translation according to the superficial meaning of the words, which can well reproduce the superficial meaning of herb beauty, but do not facilitate readers to understand its inner meaning, which results in readers not being able to directly understand the true feelings expressed by Qu Yuan. (万丽，2021,126-128)<br /> <br /> ===== 4.2.2 Free Translation =====<br /> Example 7:故荼荠不同亩兮，兰茝幽而独芳。 ——《悲回风》<br /> Sweet herbs don’t share the same field with the dead, oh!<br /> When alone, orchids’ fragrance will spread. (Grieving at the Whirlwind)<br /> <br /> “荼” was a kind of bitter plant but “荠” was a kind of sweet herb. In Xu’s translation the two herbs were translated flexibly for readers to understand the meaning, but their historical and cultural meaning were lost. <br /> <br /> ===== 4.2.3 Omission =====<br /> Example 8:擥大薄之芳茞兮，搴长洲之宿莽。 ——《思美人》<br /> I cull in woodland covers white, oh!<br /> And on isle herbs of the night.! (Thinking of the Fair One)<br /> <br /> “茞” means angelica and “宿莽” refers to a kind of herb that could live through the winter. The two words were omitted in Xu’s translation.<br /> <br /> ==== 4.3 Places ====<br /> ===== 4.3.1 Literary Translation with Explanation/Footnote =====<br /> <br /> Example 9:吾与重华游兮瑶之圃。 ——《涉江》<br /> I would tour with King Shun, oh! the Garden of Jade Trees. （Crossing the River）<br /> <br /> “瑶之圃” was said to be where the gods live in the myth. The original meaning of “瑶” is jade, so it is a word-for-word translation but ignored its figurative meaning.<br /> <br /> Example 10:过夏首而西浮兮，顾龙门而不见。 ——《哀郢》<br /> Passing Summer Head, westward we float, oh!<br /> The Dragon Gate can’t be seen from my boat. (Lament for the Chu Capital)<br /> (Footnote) The poet sailed eastward, passed the Head of Summer River and turned westward to gaze on the Dragon Gate in the capital of Chu. <br /> <br /> “夏首” and “龙门” were translated word for word as “Summer Head” and “Dragon Gate”. With further explanation in the footnote, readers can become aware of the direction in which Qu was exiled. <br /> <br /> ===== 4.3.2 Free Translation =====<br /> Example 11:朝发枉渚兮，夕宿辰阳。 ——《涉江》<br /> At dawn I leave for farther west; oh!<br /> At night in Southern Star I rest. （Crossing the River）<br /> <br /> “枉渚” was a bay in the lower reach of Yuan River, located in the east of Chenyang. It is in the Changde city in Hunan province. “辰阳” was “Chenyang” county, which is now located in Chenxi, Hunan province. The translation “Southern Star” is very poetic but not very exact name for the place, though it indicates the direction.<br /> <br /> ==== 4.4 Objects ====<br /> ===== 4.4.1 Literary translation =====<br /> Example 12:思久故之亲身兮，因缟素而哭之。——《惜往日》<br /> The Duke thought of his od compeer, oh!<br /> Clad in white, he shed tear on tear. (The Bygone Days Regretted)<br /> <br /> “缟素” in Chinese means the white mourning clothes. Xu did not reveal its functional meaning, and instead he used adjectives to indicate the color. One of the reason was that in Western culture, the mourning clothes are usually black. For example, the weeds refers to a black garment (dress) worn by a widow as a sign of mourning. To avoid contradictory misunderstandings, Xu chose to translate part of the original meaning of “缟素”.<br /> ===== 4.4.2 Free Translation =====<br /> Example 13:带长铗之陆离兮，冠切云之崔嵬，被明月兮佩宝璐。——《涉江》<br /> My long sword dazzles far and high, oh!<br /> My cloud-cleaving crown towers high.<br /> My robe adorned with pearls moon-bright, oh! <br /> My belt with gems shedding rare light. (Crossing the River)<br /> <br /> In the original text, the stanza consist of only three sentence. However, to maintain the uniform, the last sentence “被明月兮佩宝璐” was divided into two. “切云” refers to a tall hat. The translation for its name was a word-for-word adjective—“cloud-cleaving”, which uses alliteration and impressively conveys the meaning of “tall”. “明月” refers to a pearl that can shines in the dark. It was translated as “pearls moon-bright”, which reveals its characteristic. “宝璐” refers to jade, and it was translated with additional description to illustrate its beauty.<br /> <br /> ===== 4.4.3 Omission =====<br /> Example 14:章画志墨兮，前图未改。——《怀沙》<br /> Making with ink a picture clear, oh!<br /> From the former path I do not veer. (Longing for Changsha)<br /> <br /> “墨” in the text refers to “绳墨”, a tool that carpenters use to draw straight lines. However, the meaning of “绳” was omitted, and its metaphorical meaning of integrity and following the rules was not fully conveyed.<br /> <br /> === 5. Conclusion and Reflection ===<br /> Xu adopted various methods to deal with the culture-loaded words in Jiu Zhang. As for the person’s names, Xu mainly adopted transliteration with explanation/footnote, free translation and omission. For names of plants and animals, Xu mainly adopted literary translation, free translation and omission. As for place names, Xu mainly adopted literary translation with explanation/footnote and free translation. As for object names, Xu mainly adopted literary translation, free translation and omission.<br /> <br /> Xu’s translation methods were very flexible in that he intended to keep the form unified and rhymed and the content neat and understandable. Constrained by the framework of poem, the cultural meaning of a few culture-loaded words was not fully conveyed, which offers the following translators to find optimized translation.<br /> <br /> === References ===<br /> <br /> 《楚辞：英汉对照》许渊冲译. 北京：五洲传播出版社，2011 ''Elegies of the South''<br /> <br /> Wan Li. ''Strategies for translating the imagery of herb and beauty in Chu Shi'' [J]. Journal of Heihe College, 2021,12(06):126-128. [万丽.《楚辞》香草美人意象翻译策略[J].黑河学院学报,2021,12(06):126-128.]<br /> <br /> Bai Chengliang, Tian Chuanmao. ''The cultural connotation of mythological imagery and translation methods of Chu Ci'' [J]. In: The New Tan of Translation, 2021,2(01):40-46. [白成亮,田传茂.《楚辞》神话意象的文化内涵及翻译方法研究[J].译苑新谭,2021,2(01):40-46.]<br /> <br /> Zhang Yige. ''A Study on the Translation Strategy of Archetypal Imagery in the Western Translation of Chu Ci'' [J]. Journal of Yuncheng College,2021,39(02):59-65. [张艺格.《楚辞》西译本中原型意象的翻译策略研究[J].运城学院学报,2021,39(02):59-65.]<br /> <br /> Qian Mengyu. ''The English translation of the cultural imagery of the book of Chu from the perspective of cultural adaptation theory: the example of Xu Yuanchong's translation''[J]. Literature and Education,2021(02):55-57. [钱梦雨.文化适应论视角下《楚辞》文化意象的英译--以许渊冲译本为例[J].文教资料,2021(02):55-57.]<br /> <br /> Wu Fei, Long Zhuo, Luo Yunhui. ''A study on the dissemination of the English translation of the Huxiang canonical book &quot;Chu Ci&quot; under the view of &quot;deep translation''&quot;[J]. In: The Chinese language and culture of the Chinese language. [吴斐,龙卓,罗芸慧.&quot;深度翻译&quot;观下湖湘典籍《楚辞》英译传播研究[J].今古文创,2021(09):120-121.]<br /> <br /> Miao Jing. ''A comparison of the two English translations of the Ch'u Shi from the perspective of translation ethics''. [Master's thesis]. Hefei: Hefei University of Technology, 2011. [缪经.《从翻译伦理的角度比较&lt;楚辞&gt;的两个英译本》：[硕士学位论文].合肥：合肥工业大学，2011.]<br /> <br /> Xu Jing. ''A Study on the English Translation of Chu Ci from the Perspective of Concept Integration Theory'': [Master's thesis]. Shenyang: Liaoning Normal University, 2010. [徐静.《概念整合理论视角下&lt;楚辞&gt;英译研究》：[硕士学位论文].沈阳：辽宁师范大学，2010.]<br /> <br /> Wang Yuhan. ''The Subjectivity of the Translator in the English Translation of Li Sao from a Philosophical Hermeneutic Perspective''. Beijing: Foreign Affairs Institute, 2009. [王玉菡.《从哲学阐释学看&lt;离骚&gt;英译的译者主体性》：[硕士学位论文].北京：外交学院，2009.]<br /> <br /> Yu Yesheng. ''An analysis of Arthur Wiley's translation of The Nine Songs from the perspective of translator's subjectivity: A Study of Witch Culture in Ancient China'' [D]. Master's thesis. Zhejiang Normal University, 2011. [余叶盛.从译者主体性角度分析阿瑟韦利译作《九歌：古代中国巫文化研究》[D].硕士学位论文. 浙江师范大学，2011.]<br /> <br /> https://zh.wikipedia.org/wiki/許淵冲</div>

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